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A simple remake of one of the most beautiful themes in gaming. Pretty true to the original with a few gentle touches. I used 'Enter Zelda' as the intro and 'Ocarina of Time' as the outro, since I plan on making the credits theme soon. Hope you enjoy it!

Incredible, reminds me of Snarky Puppy almost. I will definitely be song requesting this on twitch streams

Wow, just WOW. I'm writing this during my first listen and I'm just about halfway through, but oh my gosh, I know I'm gonna love every second of this masterpiece. I'm a huge sucker for some smooth jazz jams and this is certainly right up my alley! You nailed it with your initial collaboration, Jorik, but this is just beyond any levels of awesome. Really reminded me of another modern classic of videogame music - "Jump Up, Super Star!", which is saying a lot, I think This one is a little less festive, sure, but the attitude is absolutely the same. Jeez, I think I got chills like 100 times while listening to this track - that was scary good. Mind-blowing work by your crew! Keep it up!

It never fails, does it? Great work. Just, just great.

Yeah, I'd always try to keep greater amounts of reverb in the lower frequency section (caused by ambienth synths or melodic acoustic instruments) on a lower level, especially if you already have some reverb in this frequency area 'cause of drums or maybe bass reverb (I mostly try to avoid bass reverb if I already use drums with a mighty reverb). So, you really need to perceive it as clearly as possible. Without good ears (remember my hint to train your ears to listen to soundtracks on lower volumes for most of the time) and - of course - good studio equipment, you'll have kinda unlucky cards. Your studio equipment should reproduce the sound on a high audio resolution (rich in detail) and as flat and truthful as possible (no sticking out frequencies that might overshadow the impression of the other frequencies - so, kinda balanced and linear reproducing studio equipment). But with good big 3-way studio monitors alone - in a room that is not fully treated with bass traps - you won't have big chances, because the roamning/reflecting bass waves will completely overshadow your impression of the rest of the track, especially the lovely mids and airy high frequencies... and even the bass you can't mix correctly, 'cause the most things you will hear, are just the layered reflections of the bass. So, you might get even better results with smaller studio monitors and a separately adjustable sub woofer in this case of an untreated room. The better (additional) solution in this case might be: You save some money for good pretty linear responding high-end studio headphones like the Beyerdynamic DT 880 Pro... and a great headphone amp which can drive such high impedance headphones properly (amps like Lake People G109-P, for example). In this case, you will be much more able to listen to the things which are really going on in the lower frequency sections, as well as in all other sections. The good thing with good headphones is the fact that you won't get trouble with the nasty effects of room reflections. If the track sounds good on your headphones, your studio monitor system, your ordinary radio and your MP3 player, it shoud be fine. ... And just one more thing. Before you might go into the EQ correction too fast and maybe overdo it without noticing it - 'cause of the pretty strong phenomenon of inurement - try to set up a greater stereo panorama before and separate instruments/synths with a similar frequency range by a better placement of those instruments/synths in the room. It can already make the mix much clearer if you put some of those instruments/synths more on the left side and the other ones more to the right side and save greater amounts of reverb for only one or two instruments in the high-mid or higher frequency section of the mix. And - if you have those options an your VSTi and synths, try to separate some instruments/synths with different settings or automations of color/timbre (which is similar like EQ-ing, but a more natural/harmonic way of doing it) or use much more different MIDI velocity dynamic settings to make some instruments more soft/mellow/submissive and others more hard/sharp/assertive in their individual sound. If the soundtrack is still muddy after this, you should start think about your compostion in general (... about things like: How would sound experts set up the whole instrumentation and surroundings in a live orchestra?). And if even this can't solve the problems with the soundscape in your mix, then it's finally the point at which I would start thinking about EQ-ing some elements of your track.