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Hey all! Someone on my YT said it would be cool to make some Shadowrun remixing. I'm working on just that and I just finished this one. I had forgotten all about this game TBH, a shame since I always loved it. Posting here before YT! Hope someone enjoys.

Snowboard Kids Redial 2025-09-06 2029.mp3 Snowboard Kids "Board Shop" harmony with Bomberman Hero's "Redial" melody, except for Redial's B section which is included. Original rhythms. They are both extremely similar harmonically, but if you listen closely, you'll see the harmony is in fact leaning heavily on the Snowboard Kids side. Arrangement is not complete but this is the general idea I'm going for with this. EDIT: Had the cool idea to do some solo trading between piano, electric piano and drums, but with drum samples of course and repitched. Pretty cool sound. Introduces some jazz tradition into this modern jungle style. EDIT AGAIN: I took the reverb out to test listening to it without reverb. I feel like this particular style may benefit from being completely clean with no reverb, so it sounds as tight as possible. Let me know what you think. I made the ending section be the same as the first part, this time up a whole step. Freshly recorded, not copy and paste. A drum fill takes us to a final weird chord. The only question I have is, should I add the Redial B section at the end? Or it's fine as is? Maybe I could add that section and then just take it back to the ending... I might do that. Also need to go through and make sure bass and chords are well humanized, though they're pretty much there right now. Sources:

I love the sound and structure of this!

Ya got a very interesting style as a composer. I really dig the immersive soundscape. )) Great stuff! Is this your latest remix you were working on? ... The only thing I would keep in mind in the future is that the first sound signal in the music project probably should not start right on the first bar, but rather you should leave a full bar or so empty before the first note starts with the second bar, so to speak. This can also help to avoid processing errors in the DAW or even the swallowing of the first transients and sound impressions. I think there was a discussion about this in a thread of the forum many years ago, explaining why this is done - maybe someone still has a link to it. I can also hear a slight crackling noise at the end of the song in the last moments of the fade-out around minute 4:25 - maybe check this again.

mo.oorgan and 6 minutes, insert "Ah shit here we go again" meme but on a positive note. Anyway, we begin with some pad/SFX with "cave vibes". Actual track starts at 0:29 with a crystal-ish synth doing a slightly modified version of the source's melody. Electronic percussion sneaks in slowly and around 1:00 it turns into dnb/edm (not an expert on electronic genre names!). I'm not too sold on the lows, seems quite busy around 50-60 Hz and quite draining on the ears even. Source stays but on a minor role during this section, with some source melodies playing every few bars. We keep on a similar vibe until a cool "regular" percussion fill around 2:25 that moves us into the second source melody. I found it a bit odd that the "regular" percussion only did a fill to then disappear but I guess it's fine. Around 3:00 there's a very atmospheric break with a soft pad and a lead. 3:25 sees the return of source melodies while still keeping the same atmospheric vibe. There's an electronic percussion fill and around 4:00 we return to dnb/edm, clearly featuring the source once again. There's a prominent tom on the beat that I don't enjoy much, it sticks out a ton and plays on every single measure. We continue on the same vibe as the track progresses, with source melodies coming from a pretty piano around the 5 minute mark. At 6:00 there's a small break and then the track ends with a standard electronic fill. On arrangement this is good, definitely a lot more subdued than what I expect from mo. It's a nice and chill electronic journey, keeping mostly the same vibe for the whole duration, but there's also enough breaks and variations to keep it fresh. I think it could have easily worked as a 3 minute track but I don't mind it being 6 minutes. It's a great track to have in the background. Larry timed the source usage above so we're clear on that but I didn't have any doubts about it being enough myself, as most sections clearly feature the source and the only ones that don't are the intro SFX, the 3:00 break and the ending. Production is, as usual, stellar. I'm not a big fan of the 50-60 range on this mix but I got used to it while listening to the entire track and it's nowhere close to being a dealbreaker. Most of the samples used here sound excellent and there's a lot of cool sound design effects and transitions. Overall, a nice chill jouirney with great production and enough variety to sustain the 6 and a half minutes. YES

When are we getting to the theme, I say to myself, with this extended ambient build. Excellent, there we are at :29, and some impressive sound design to boot. Beats fade in after :50 and this just goes into the weird shit category with some funky beats, belltones for the melody, and lots of SFX mockery. 3:26 gets back into the source tune's chorus section. Nice lil' pointillist approach to the theme at 4:03, and a simple but effective adding of some thump beats at 4:31. Theme drops out at 5:00 and it's original beats with some quiet inclusion of the melody and chorus layered in. The track was 6:34-long, so I needed to identify source usage for at least 197 seconds to consider the source usage dominant in the arrangement. :29.5-59.75, 1:05.5-1:08.25, 1:13.5-1:15.25, 1:20.5-1:24.5, 1:28.5-1:32.5, 1:35.75-1:39.25, 1:43.25-1:55.5, 2:01-2:02.75, 2:05.5-2:09.5, 2:12.5-2:19.75, 2:27.75-2:56.75, 3:26.25-3:54, 4:03.5-5:05, 5:08.5-5:12.5, 5:17-6:00 236.75 seconds or 60.08% overt source usage I was just sanity-checking it for source usage since this has some longer gaps between the melodic notes in places, but just going off the feel, I wasn't expecting it would be a close call. Trust but verify. Awash with creativity. A sound design delight and a dynamic piece of business. :-) YES

opens with a significant unpitched swoop that builds to an initial wash of colors and theme. the melodic material that comes in after 0:30 is nicely patient and doesn't rely on percussive elements to move forward, which is a nice change. the beat hits at 0:59 and is a nice vibe. the 808 conga sound that repeats at the end of every bar sticks out a bit to me, but i really like some of the other elements, like the wobbly vibes used for the melodic material here. there's a fun choppy transition at 1:57, and the following section is pretty obfuscated. there's some melody in there but it's really hard to hear, might be actually too quiet. the transition at 2:26 is unexpected, but the feel after is really fun - the glidey trumpet lead here with the heavy kick is a really interesting combination. 2:57 is a significant drop - there's like 30s of noodles here before it gets back to more than one thing in the texture. i'm surprised how much i didn't mind the dropoff, actually - i really expected to find it to be too long of nothing going on, but the patience again won me over. i would have minded if it was louder though, as the dynamic contrast is pretty huge. harmonizing the glider synth is a really clever idea to ramp it up a touch. big build into 4:03, and we get another low-key driving beat here (now with chippy arps). the toms that come in around 4:32 were a little forward and out of the texture for me (and the hats that came after felt really loud). once everything came together and we had the actual full beat together at 5:02, it felt better, but i still felt the hats were a touch loud. there's some building elements through this until we get another shift that winds up being the last. i felt that the more unpitched ending - basically everything after 6:00 - to be a bit of a let-down after you'd successfully built so many other clever textures throughout that tied so well to the original. it didn't feel as connected to the rest of the piece as most of the other things you'd done throughout. overall this is a really interesting ride. there's a ton of maturity in the textures you're building here, as expected, and the mix is super tight to help make it all pop. there's a few things i wish had gone differently, but as a whole i think this is superb. YES