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Would need a new title if appoved -LT Artist Name: Gabriel Busarello I used as references mainly musics from Avenged Sevenfold to make this. I liked so much the second part of the song where i made a reggae. Actually, i think it became a very good song to listen. Games & Sources I made a rock version of the music. I used bass, guitars, drums and organ. The original music is here:

Would need a new title, if approved -LT Artist Name: Jaimy "See4urSelf" Kortenhoff Welcome to the soundscape of 1998! "The Princess" has such a melancholic sound to it. I dramatized this song a little bit further by actually incorporating 'her' voice. I always envision her lonely in her tower with nothing more then a small toy music box. "Knights and Merchants Revisited" is playlist/album where I recreate the soundtrack of this beloved game. Listening to the old sound files it quickly became apparent that the quality of those songs sound quite oldskool and degraded. Rescoring them with modern instruments/technology greatly increases listening quality. It was a blast to figure out how the songs were built up back then. Taking some liberties in creating my own versions of those songs was the ultimate goal. But for now, I would like to apply for this track only, "The Princess". Games & Sources Back in 1998, Joymania released their RTS "Knights and Merchants". A RTS relying heavily on city building, resource management and strategic battles. The game however, really unlocked something in me back when I was younger. The sound design of this game was stellar. SFX's were crisp and engaging. The soundtrack was memorable. Easy to remember tunes gave a late medieval / early renaissance vibe. The soundtracks are usually build up with catchy tunes modulated throughout the tracks. Source material: The original game's composer is hard to find. After some digging it seems to have been Joachim Schäfer, a German composer (probably) affiliated with the developer Joymania. We do know however that some of the game's original score has been inspired by Mozart's sonata's like "Rondo alla Turca", "Piano Sonata No. 11 in A major" and "Suite No 3 in A major: Allemande - Tripla". It's therefor safe to say that Joachim took massive inspiration from classical music, simplified it and implemented it for ease of listening. The tracks are implemented in a way where they play serenely in the back, unintrusive and adjust to the slower gameplay that Knight and Merchants inhabits.

This was more or less a 50/50 joined effort between Gabe and myself. It was one of the tracks on the Phazon Mutations album from Respawned Records. Games & Sources Super Metroid - Crateria Surface

Yep, prophetik articulated the issues better than I ever could. The instrumentation's very cool in a vacuum, but texturally it's relatively basic, straightforward, and repetitive, plus the exposed lack of humanization for the choir and bowed string sustains goes on too long. I also dug the increased intensity at 3:26, which was long overdue. With improved production and a more evolving structure in the middle section, this could certainly make it; good potential here, Zane! NO (resubmit)

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Quick co-sign. FONKY! YES

Ooh, very interesting instrumentation to open things. I disagree with XPRT saying he felt the level of interpretation wasn't enough; to me, this was very transformative. At :13, it sounds like it has no high-end for some reason, and also sounds relatively thin despite a full soundscape, which feel contradictory to say; Chimpa has a better understanding of what causes a soundscape like this, when there are thumping beats and loud volume, but the track feels like it lacks complexity and sophistication and depth, so I'm aligned with the others there. Beats from 1:06-1:38 & 1:50-2:20 feel very basic and WIP-like, as if that element was more of a proof of concept/placeholder. It feels like the low-end's taking up too much space in the soundscape, but then the lead is mostly lonely. Wow, I hate that I lack the background to properly articulate why this doesn't click yet; the arrangement's interpretive, but it's not yet cohesive. When XPRT calls this a "sketch", that's also the vibe I had, and I agree with him fully on that level. The ending section at 2:30 was excellent; if it comes after a fuller arrangement, I think the contrast of the softer, warmer tones will hit even better. Loads of potential here, proph; I really appreciated you working outside your comfort zone here, am I'm VERY interested to hear you refine this further. The source tune's very underrated, so I'd love to hear it repped with another mixpost. Don't drop it! You should join in the Sages' Office Hours to get some feedback on it, it could be a very informative event! NO (resubmit)

The mixing's odd, but I like the use of the stereo field here, for the most part; some brief moments where the panning was too wide. This definitely would have made it in the beginning of the 2000s. At :42's section, the energy's good, but the texture still feels empty, especially from :59-1:14. This would have been more cohesive if it included the source's main melody; much of the time, I wasn't recognizing anything overt from the source theme, so I'd need a source usage breakdown before I could approve this. Someone help a brother out with an arrangement breakdown. I don't know anything about mixing, but I'm more in proph's camp, because while Worlder's musicianship is good, the instrumentation and overall punch of the track somehow sounds nerfed and distant. 2:50 was arguably the best moment of cohesion, but then you have shrill/piercing stuff from 3:03-3:34. Feels texturally incomplete, but well in the right direction. NO (resubmit)

OC ReMix's most meditative track, at least for me. Always a fan. :-)

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1. https://ocremix.org/remix/OCR00353 2. not from OCR, but it's an arrangement of Donkey Kong Country's "Gang-Plank Galleon" * https://ocremix.org/song/448/gang-plank-galleon 3. https://ocremix.org/remix/OCR01184 4. https://ocremix.org/remix/OCR01568 5. https://ocremix.org/remix/OCR00848 6. not on OCR, but an arrangement of Kirby Super Star's "Great King Dedede's Theme" 7. https://ocremix.org/remix/OCR00563 8. not on OCR, but an arrangement of Kirby Super Star's "Green Greens" with European-inspired orchestration * nice track; definitely want to know who made it :-) * https://ocremix.org/song/422/green-greens 9. not on OCR, but an arrangement of Legend of Zelda "Title" theme * https://ocremix.org/song/278/title 10. https://ocremix.org/remix/OCR01085 11. https://ocremix.org/remix/OCR00110 12. original VGM - Mega Man X "Spark Mandrill" by Makoto Tomozawa - https://www.youtube.com/watch?v=wdvJtSroRSw * https://ocremix.org/song/265/spark-mandrill-stage 13. not on OCR, but an arrangement medley of Donkey Kong arcade themes 14. arranged VGM - Super Smash Bros. Brawl "Stickerbush Symphony" (arranged by Michiko Naruke, originally from Donkey Kong Country 2 by David Wise) * strongly recommend you get this OC ReMix of it: https://ocremix.org/remix/OCR03502 15. not on OCR, but a Legend of Zelda: A Link to the Past arrangement of "Dark Mountain Forest" * https://ocremix.org/song/983/dark-mountain-forest 16. original VGM - Sonic the Hedgehog 2 "Emerald Hill Zone" by Masato Nakamua - https://www.youtube.com/watch?v=LWdhufzxQRA * https://ocremix.org/song/1329/emerald-hill-zone 17. not on OCR, but a Zelda 2 arrangement of "Temple BGM" * https://ocremix.org/song/29/temple-bgm 18. https://ocremix.org/remix/OCR00341

Artist Name: 7DD9 This was made exclusive for the Halloween and it haves a dark and spooky mood with a VHS feeling as Horror movies totally belong in the 80's and early 90's Era. Synthesizers used for all covers. The covers flow as a all together to create the necessary atmosphere. In case you don't want to upload the full audio file with the tracks and you want a specific track please let me know. You can download the file from private soundcloud link as i couldn't upload it directly to your site. Edited 5 hours ago by 7DD9 Games & Sources Game : Blood (1997) Blood is a 3D first-person shooter video game developed by Monolith Productions and published by GT Interactive and developed using Ken Silverman’s Build engine. Music Soundtrack written by Daniel Bernstein and Guy Whitmore. The following tracks were used for the covers and it's their alternative versions not the versions that actually used in the game. Blood Night (Halloween Special) 01.Infuscomus 0:00 02.Dark Carnival 2:53 03.Fate of the Dammed 5:35 04.The Lair Of Shial 8:30 05.Overlooked Hotel 11:16 06.Unholy Voices 13:36 Original Soundtrack : YT timestamps: 1. Cryptic Passage - 00:00 2. Pestis Cruento - 00:45 3. Unholy Voices - 05:56 4. Dark Carnival - 13:04 5. Infuscomus - 15:58 6. Father Time - 20:36 7. Waiting for the End - 25:30 8. Fate of the Damned - 28:41 9. Double, Double, toil and trouble - 31:34

Oh wow, I immediately like that genre transformation of the theme, giving it a darker edge. Something about the texture after the ramp-up at :53 didn't feel quite right. Also felt like one of the guitars was briefly panned too far to the right, but maybe it's just me. Very subtle vocals at 1:21 for more of an ominous undertone as opposed to an overt message; cool placement. Loved the double guitar leads at 2:00, another cool iteration of the theme. The strings at 2:25 were too exposed, but conceptually were cool; the strings sounded less exposed later on when they were a supporting part. A wild TSori appears at 2:38. Loved that original mallet-like countermelody underneath the lead, what a unique addition to the texture. 3:17 felt like the final big build gradually filling in the soundscape; great interplay of the part-writing throughout. Structurally, I dug the format of just riffing on the core theme and exploring the instrumentation permutations. Textbook creative arranging! YES

Artist Name: Mike Norvak I made this remix for my "Redoomed" album. I think this track or others from the album would really fit the halloween season. I went with a "Reduked" (a previous album by my self) style for this remix while adding elements from Darksynth and a base from Midtempo. I also reused some of the original song Roland SC-55 sounds and other 90's sounds to keep the essence of Bobby's soundtrack while adding some retro-futurism to it. I hope you'll enjoy it! Games & Sources DOOM - Dark Halls by Robert C. Prince

Artist Name: Gabriel Tripp, Rebecca Tripp This was a joint composition between my brother and I (Gabriel and Rebecca Tripp). It's from this Respawned Records album: https://respawnedrecords.com/products/phazon-mutations-vinyl-metroid-series Each song on the album was co-arranged, but I think Gabe's composition shines in this one. I'm hoping to submit some more of these over time! Games & Sources "Menu Music" from Metroid Prime 2: Echoes

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What did you think? Post your opinion of this ReMix.

Love being introduced to this source because it definitely sounds like something about:blank would take on. Lots o' pumpin' here. The textures feel thinner than some of about:blank's previous pieces, in part due to the snare drums brought in at :04 feeling relatively tame and lacking body (IMO, the sample's too exposed). The subtle SFX from 1:56-2:12, as one example, were small details that added so much character to the presentation; same for the quiet electric-esque sounds introduced at :20, where the SFX as an additive element really first started. The keyboard line from 1:00-1:15 & 1:55-2:15's one of the track's brighter, more serene elements, with the technique nicely used again with the woodwind from 3:19-3:35 as an optomistic-sounding close. It's a spirited, dynamic fleshing out of the source tune, and I really dig the subtly yet persistently uneasy feeling to all of the warbly synths. With about:blank, the devil's in the sonic details. Always a pleasure to hear what he's got cooking. :-) YES

Would need a unique title if approved -LT Artist Name: StrapCoopMore Composed, Rearranged By Aleksander Parker Gates From Wikipedia ATF: Advanced Tactical Fighter is a video game for the ZX Spectrum, Commodore 64, and Amstrad CPC in 1988 by Digital Integration. The player takes control of Lockheed's YF-22A Advanced Tactical Fighter (the aircraft which later became the F-22 Raptor) in a fictional war between two rival factions. The world is a collection of islands randomly generated for each game. The fighter can be armed with a combination of cannon rounds (used to destroy enemy aircraft), ASRAAM missiles, and Maverick missiles for destroying ground targets, even those out of visual range. Games & Sources ATF: Advanced Tactical Fighter

OK, opening sounded a lil' funkier than I was expecting, like you're trying to smoove the ladies. Alright, the main melody kicks in at :43 and the laid-back groove behind it is nice. The sound design isn't the same, to be clear, yet I can't help but say the overall sound design and dynamics feel reminiscent of Quinn Fox's stuff, which is a wonderful comparison, IMO. (Check out the cadence and tone of the beats of his old VGMix, "Slick Uniforms".) By 1:45, I was expecting a ramp up of some sort and we got it at 1:49 with some beats. 2:18-2:20 was an odd moment that IMO should have been tweaked to sound major key throughout, but I'll live, it's a there-and-gone transition (and the notes aren't wrong, just odd). It felt like there was a potential build for a brighter or more forceful concluding section starting at 2:54 or 3:16 instead of what we got, which'll sound like I minded the direction timaeus took here. Nothing at all wrong with setting a mood here, and I was still getting Quinn Fox-esque vibes from this when it was all said and done. Cool approach! :-) YES

Source writing that I recognized arrived at :53.5. The orchestration definitely feels last-minute in the sense that its way in the uncanny valley (the attacks and sustains), but it's at least more of a supportive element to add color than sound realistic. A swelling transition leads to impactful beats joining in at 2:54 as things ramp up with the strings also filling a stronger, more critical role before things finally rock out at 3:41. Now the mixing feels too cluttered and messy, and the sequenced strings are swallowed up, while the guitar chugs also sound relatively indistinct. The bassline is also mostly obscured too, but when it pushes through enough, the writing is good. Unlike prophetik, I couldn't hear the individual elements well. Lots of splashy noise until the soundscape opened back up at 5:19 for the last few moments, nicely bookending the finish with a similar texture to the start. The performances are strong, love the arrangement, can look past the exposed strings, can't countenance the extended muck & murk for a minute and a half. Wish I could make an exception for Wes, but I'm mean, old, and (most importantly) even-handed. :-D NO (resubmit)

Starts out super-quiet, but purposefully boosts up at :27. Gets denser at 1:08 with some bouncier piano writing. Good transition into the chorus at 1:21. I'm appreciating the textures and sound design; nothing too flashy or sophisticated, yet everything combines very effectively. Strong dynamics as well. The track was 4:46-long, so I needed to identify the theme for at least 143 seconds for the source material to dominate the arrangement :52-2:10, 3:15.5-3:58.75, 4:00-4:12.5, 4:13.5-4:46 = 166.25 seconds or 58.12% overt source usage I could be overlooking smaller references from a lack of source familiarity, but all I was concerned about was confirming that the vibes I had that the source usage was fine weren't just because I enjoyed the track. Fun stuff, VQ! :-) YES

Nice moody adaptation of the original; cool to hear it done with this warm guitar as the lead. The drums also give this a particularly different quality, and the bassline was enjoyable to listen to as well. 3:28 shifted over to original vocals. Definitely dug Zach and CeCe's performances, though they sounded too quietly mixed and should have been more upfront; nothing meaningfully dinging this, but the vocals cutting through more would have had more impact, IMO. Had a great 90's rock vibe to the whole thing. Great source tune choice, and a well-personalized approach to it. :-) YES

Did I hate it? YES ;-P