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Actually I only used one of the drum loops. Speaking of which, you said all the samples except for one were from the original game. I wonder, how did they isolate the drum loops from the rest of the song? Were they just there on the game disc as separate files? Yeah, this is definitely the kind of thing I would do for PRC but not MNP. Also, thanks for the kind words. I was pretty happy with what I was able to achieve this time around. I added a few original riffs to the remix, which I'm not sure what I'll do with. Maybe I'll spin them off into new original songs or reuse them in other remixes. I do agree that the violins are too loud when they first enter, but I think the right solution is to turn up the other stuff (only before they come in) instead of turning them down, which achieves a more consistent volume level across the track and a more dynamic mix overall. I tried that after the deadline and it worked, at least to my ears.

Yo! I released new EDM instrumental version of Opening 15 theme from Fairy Tail series. The song is called Masayume Chasing. Original:

Hi people. I composed new soundtrack. This is kind of horror and creepy atmosphere

Hey, my favorite SF2 series theme! Interesting and creative take on it. The very beginning sounds like I'm listening to something on the Amiga. The buildup of the intro felt overly long into the melody at :53, but perhaps that's just a personal taste thing. Theme's verse came in at ;55; mixing felt muddy, but the track does have personality. You could trim some time off of this by condensing or icing the original beat section from 1:18-1:45 and/or the comping-style section from 1:45-2:09. That little string of notes at 1:55-1:56 felt out of place, and I'd argue the comping-style stuff until 2:09 wasn't really melodious and didn't add much to the picture. That's not to say it's poor, it's just unfocused IMO and doesn't have enough substance to justify all of that time. I liked the dynamic contrast of the chorus at 2:35; creative beat-writing behind it as well, and I liked the supporting writing gradually fading up along with more parts coming in to fill things out until the transition to the final section at 3:26. Enjoyed the chippy winddown section at 3:26. There's a lot to like here. I thought the arrangement approach was unique and I like a lot of the sounds and production techniques. Good bassline; maybe others will think it's too heavy, but I thought it was fine. That said, it's definitely right in the vein of what we post, so I'd certainly consider submitting this to be posted onto OCR as a featured ReMix if you're interested. Hopefully you can get some more feedback, because I think there's a lot of potential here. Good stuff so far!

Back off on some EXCITEMENT? My good human, I don't like the sound of that at all!

He did use the piano though...I think that counts. Especially in the context of PRC.

I don't think vocals work with this song at all, or at least I can't imagine it. There's far too much going on, and I feel the vocals would be competing with the rest of the song. If you desire vocals, you need to back off on some of the excitement coming from the synth(s) and allow something a little closer to a proper verse/chorus arrangement. So unless you plan to rework some of it, I agree with the first part of what Blue Metal Machine said: don't force it.

I skipped over the boss theme albums for a long time because I figured, eh, I don't know most of those songs. It was only my loss. This album is the one that drew me in since it is bookended by the Kefka and Lavos themes. What I love about this Kefka remix is that it seems like Dancing Mad typically gets either an organ-heavy remix or a guitar-heavy remix and the track here just pulls the taco girl, "Why don't we have both?" and then throws in some occasional choir for good measure. The Magus theme stands out for dropping down to one sinister, spooky piano rather than all of the heavy industrial stuff and face-melting guitar licks from other tracks. It's a great version of the theme and a great palate cleanser for the album. And there were a number of other fun ones from source music I don't know so well. The Shredder theme, the one from Wild Arms, the Majora's Mask boss. Another great one.

Don't force it, but seems like you probably want to. If so just do it! If its natural then its meant to be.

Good stuff. Closing it out. YES

It's weird that this thread has 30k views and the other remix threads tend to get around 1k. Any ideas why?

I'm impressed with how you used the sources. The framework essentially boils down to ideas from act 2, then act 1, then back to act 2 and act 1 with entirely new integration - which is a sweet way to explore the similarities and differences between both sources. You allowed for transformations in the melodies to shape up this framework - and except for 22 seconds combined from the bookends, the VGM is present entirely, so no problems with dominance whatsoever. The backing element integration got used straight, however, but as they are responsible for carrying the source through when melodies are absent, there was no need to change them up in the first place. The production values aren't too shabby either. The choice of instruments for the palette is excellent and appropriate for the crystalline direction. The synths have some well-expressed envelopes and modulation as well, and the use of reverb is a fitting choice that compliments your sound choices. Much like Wes, I also sensed mud going across your leads, so the idea of putting EQ on the reverb can give a lot more breathing room for your bells and mallets. I can also argue that the synth leads are quieter in the mix than the chimes when it should ideally be the other way round, but whether this is an after-effect of the reverb use is hard to tell. Nevertheless, it's an enjoyable and meaningful romp. The source is more dominant than cars in a traffic jam, the transformations are engaging throughout, and the sound design has more pros than cons. This track is a worthwhile sophomore effort and one I'll be happy to see on the front page. Great job, Darren! YES

An instrumental of a new Hindenburger commercial song I'm proud of the arrangement and lyrics. Someone pointed out it sounds like a Mel Brooks song which is the intention. I still have to record the lyrics. But let me know what you think! Lyrics: Eat at the Hindenburger Our burgers are renown from shore to shore Ve may be very strict und our food may make you sick But we had nothing to do with the war! No sir! “Burgers Burgers, made of pony guts Spleens und organs und their butts!” Eat at the Hindenburger Soon Ponies vill pester us no more Animal cruelty Over here's a guarantee! But we had nothing to do with the war! No sir! We have a variety sasagues Und a schizerload of beers! We'll murder all the animals on god’s green earth UND REIGN THOUSAND YEARS!!!! Uhhh figuratively speaking of course...heh heh. So… Eat at the Hindenburger Everyone beware cuz we’re on tour ! The best burgers in the world Made from the heads of little girls! But we had nothing to do with the war! Eat at the Hindenburger We assure you it's just ketchup and not gore (Bull Shit!) We may have zero stars on Yelp I may need psychiatric help! But we had nothing to do with the WAAAAAAAR! ACHTUNG!

Pretty rad! I love the predominant use of the glassy tones here. Lots of complex writing and varied sound design keeps this engaging while still retaining the signature chillout vibe you were going for. Things got muddy during the busier sections due to the high level of reverb on your leads and the presence of the supersaw stabs, for example, so on future submissions, I would suggest trying to rein in your reverb slightly (maybe try using a send track and EQ'ing the reverb signal itself so you can sculpt the reverb signal to reduce mud.) It's an easy trap to fall into with chillout arrangements. I also feel like your leads in general sat rather quietly in the mix - a very slight volume boost to give them more presence might not be a bad idea. In spite of those issues, this sounds good enough to my ears as-is! There's room for improvement on the production side but there's a lot of creativity in both the sound design and arrangement that helps this succeed on its own merits. Nice job! YES

Yes I sure did! Thank you! And the Ticket Takers laugh is my demented mix of Woody Woodpecker and Judge Doom. I have to increase the pitch by 5 decimals because the joke is he swollowed a tank of helium when he was 7 years old and his voice kinda stayed that way.

Yeah I really dig this. A lot of reverb but it's a nice atmosphere. Cool arrangement; I like how you're using elements of both Acts to create a single piece of music. Sound design is great. YES!

How did you manage to recreate the song that plays every time I wake up in the middle of the night? Jokes aside. Nice work on the ambiance here. Is it creaking? Horrid breathing? I'm sure not going in there to find out. And it sounds so much better in the dark. Good job!