Liontamer   Judges ⚖️

Why are you asking that when you already know the answer? http://ocremix.org/remix/OCR03532 That said, we don't allow singing over the original audio; you'd have to do your own arrangement of the Sonic Mania theme like you did with the Kingdom Hearts main theme.

Just noting that I never heard the original version of this one, so I'm coming in fresh. I'm OK with a lopsided structure as long as it makes sense, so while I see what Jive's saying, the track felt fine to me, and there's nothing wrong with the build being extended as long as the writing remains creative. I thought this was mixed too loudly, but nothing was distorting, so I'll live with it. The beat-writing also should have been more sophisticated and varied, but the track was produced reasonably well overall, so I can live with that too. My socks aren't knocked off, but this was still solid work adapting this to EDM. Welcome aboard! YES

Co-signing with the others, this is just too straightforward of a cover; though there were some brief spots of original lead writing and some new backing part-writing that went in the right direction with this genre adaptation, we're looking for something more interpretive, Caleb. We're definitely OK with spirited covers, and I think Fishy's Pokémon R/B/Y mix "Battle for the Badge" is a more thorough example of the kind of approach you were going for, so check that out and see if it gives you any guidance on how you could further personalize your take on the Zelda theme. Gotta agree with the cut-and-paste sections, and the lack of an ending/resolution being an significant issue as well; the performance is solid enough, but the backing writing was relatively basic, and the arrangement isn't fully developed yet. NO

Bumping to reflect that I've now added my vote.

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From 3:23-3:40, there's a brief variation of the "Eight Melodies" theme doubled by brass and piano.

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Chiming in late because I love SMB3's soundtrack. Sweet arrangement and combination of these themes; while it's melodically conservative, the textures are expanded and nothing like the originals. I thought the highs during some portions of this were abrasive (e.g. 1:15-1:30); it wasn't quite enough to hold this back as is, but it'd be nice to get that touched up, since that also pulled back the strength of my vote some. The sound design was pretty basic, but there were lots of little sonic tidbits going on that showed the writing wasn't lazy or unsophisticated. Also, the soundscape was spacious and reasonably filled out, so I though Adrian made good use of the instrumentation he chose; it's all about the execution. YES

Normally wouldn't chime in a 4th NO, but I was planning on voting on this anyway, since "Dark Dizzy" is my favorite MMX series music. Will just quickly echo the crit about the instrumentation being too dry, and the introduction sounding jacked. There were a couple short sour notes in there, like Gario mentioned. I liked how you integrated the "Dark Dizzy" theme in there, that was pretty seamless. Lacks a fair amount of polish, but the funky energy was good, and there are some promising ideas here, Adrian. See what more you can do with this one. NO (resubmit)

I can't speak on the production aspects, but Gario had some good crits on the drums in particular. As always with Pieter's work, there's some blockiness to the piano sound, but I didn't mention it in my vote because it was basically a non-issue here and the humanization was pretty strong for the piano. The drums for 4:34's final big section did drag things down though. I disagreed on Gario feeling this effectively had little structure, as well as people saying the track hit a full stop (a full stop never actually happens around the 3:20-3:27 transition, there was just a genteel-sounding transition). Pieter's included comments on the imagery he felt was conveyed in this arrangement -- take it or leave it, sure, but there's a narrative there, and it seemed like a reasonable structure was there.

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Yeah, Pieter's timestamping didn't even count some other obvious uses of the X-Hunter theme, and everything was good to go there. Like Deia, I felt some of the "Spark Mandrill" theme usage was harder to hear, but that was mainly because you used a less memorable line from :14 of the source, and also from slowing down the tempo so much and adding some grace notes. That said, I could reasonably make it out, and certainly nothing was dancing on the line of overt source usage overall, so a stopwatching look wasn't necessary. Good work here with a more somber rendition of MMX series themes! YES

I wish the rapid-fire synth countermelody first used from :14-:37 wasn't so obscured, because I liked the writing there. Right now, the arrangement is awesome, but for the opening minute, it felt like all you essentially heard was the lead. At 1:25, the texture felt empty, again with the lead being very upfront, but the backing parts not really filling the back out completely. For example, that rising line from 1:44-1:47 was barely audible and didn't really register. As I'm listening through, there's multiple small sections where the supporting part-writing is there if you listen closely, but it's just pushed back to the point of sounding negligible, for example the warbling/double synth from 2:17-2:29. More relative emptiness from 2:45-3:08 with the background feeling empty outside of the string stabs. Gario alluded to what I'm hearing in some sense with his criticisms, so it's worth going back over them and seeing if this could be tweaked. If Andrew's willing to revise the mixing some more, cool, but this is good to go in any form. The sections that sounded more filled out were the best, IMO. That said, what did come through was strong, and the arrangement was extremely creative, interpretive, and energetic, a lot like a DDR-version of FF6 music would be. Could have been more creative with the synths, but I thought this was strong overall and made good use of the tools. YES EDIT (8/18): Checking out the revised version, this is what I'm talking about. With some added effects to thicken things up, there's a bit of clutter in places, but you didn't have dry/empty-sounding sections anymore, and I can hear the interplay with most of the great backing part-writing that was previously too subtle (1:44-1:47 being one exception). Also forgot to point out how awesome the final orch stabs were from 3:13 until the end; great stuff. Very nice work, man!

Feel free to PM me, I might be able to help with some names, or you can also ask around in the Discord.

They're not searchable yet, but djp's working on that. But if more people here say it's an important feature, maybe he'll prioritize it above some of the other things being worked on. Will point him here re: a status.

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This updated version was still feeling pretty static overall after the first listen, and I still had mixing concerns, but I'll see how I feel on another go. At 1:17, the synth countermelody was still a nice element. At 1:44, the change into the next section was odd because the volume of the chippy lead was so much louder than everything before it, so it almost sounded stapled on top of the soundscape. Meanwhile, the countermelody was still registering, but relatively buried due to the bass kicks still smothering things. Again, I felt like I was hearing the bass kicks more than anything else (even though they were pulled back compared to the previous version), and the pattern was still very plain. The pattern's simplicity was intentional, but still plodding. 2:39's changeup to the texture was handled pretty well, with some more grace notes and embellishment for the lead writing, and more interesting bass and perc writing. Nice work there giving this some variation without changing the overall energy level of the source. At 3:20, the ending section was the same, albeit with more interesting backing writing thanks to the soft kicks added in. Well, I'm not saying all the backing writing needs to be wild, but this still plodded a lot. So while I understand the structure's intentional, there's still something missing here, and the track doesn't feel like it's being driven forward by the beats. The overall soundscape also felt like it was missing high-end clarity. I'm willing to hear out more POVs for sure, but IMO this isn't quite there yet mostly due to the backing writing for the first two-thirds and the muddy sound. NO (resubmit)

MP3tag can get it, but you should be able to select the first track in iTunes and change the Grouping field to "Legend of Zelda: A Link to the Past" and be set.

The "Grouping" list of a song includes every game represented, so in the case of this album, the first song had 7 games, and the rest had 1. If you're sorting by the "Grouping" field, it does a more odd result than if you sorted by, for example, Album Artist.

OC ReMix Presents Mirror Image: A Link to the Past ReMixed! August 7, 2017 Contact: press@ocremix.org FAIRFAX, VA... Celebrating the 25th anniversary year of A Link to the Past's release in the U.S., OverClocked ReMix today released its 63rd free community arrangement album, Mirror Image: A Link to the Past ReMixed. Featuring 18 tracks from 18 artists, Mirror Image pays tribute to Nintendo's 16-bit masterpiece The Legend of Zelda: A Link to the Past, and is co-directed by OC ReMix veterans William "WillRock" Harby & Emery "DaMonz" Monzerol. The album is available for free download at http://mirrorimage.ocremix.org. Mirror Image pulls together a talented roster of musicians honoring this legendary SNES score in a variety of styles, including EDM, orchestral, jazz, prog rock, and more. Mirror Image was made by fans, for fans, and is not affiliated with or endorsed by Nintendo; all games, characters, images, and original compositions are copyright their respective owners. "The music of the Legend of Zelda games has always been an integral part of the game experience, even being able to play musical instruments in the games themselves." explained directors Harby and Monzerol. Acknowledging both the game and the soundtrack's enduring popularity, the directors felt an extra level of appreciation was warranted. "We felt that A Link to the Past deserved more attention than it already got in the game music community, since many of composer Koji Kondo's greatest and most iconic themes originated from this game," Harby and Monzerol elaborated. The album's contrasting artwork -- illustrating the Light World and Dark World concepts introduced by A Link to the Past -- was designed by Canadian artist Annie Doyon. Mirror Image marks OC ReMix's third Legend of Zelda series album, following 2010's Threshold of a Dream honoring Link's Awakening, and 2011's 25YEARLEGEND commemorating the franchise's 25th anniversary. The album is also Emery Monzerol's second directorial effort, following Super Mario RPG: Window to the Stars earlier this year. "We set out to honour the legacy of the soundtrack while also staying true to the awesome diversity that defines the remixing community," affirmed co-directors Harby and Monzerol. "We hope you enjoy it!" About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. ### Preview it: http://youtu.be/l-DGg1_vJ2w Download it: http://mirrorimage.ocremix.org Torrent: http://bt.ocremix.org/torrents/Mirror_Image_-_A_Link_to_the_Past_ReMixed.torrent Comments/Reviews: http://ocremix.org/community/topic/46136/

Preview Mirror Image: http://youtu.be/l-DGg1_vJ2w Download Mirror Image: http://mirrorimage.ocremix.org Torrent: http://bt.ocremix.org/torrents/Mirror_Image_-_A_Link_to_the_Past_ReMixed.torrent Mirror Image is a reinterpretation of the soundtrack to Nintendo's SNES masterpiece The Legend of Zelda: A Link to the Past. The music of the Legend of Zelda games has always been an integral part of the game experience, even being able to play musical instruments in the games themselves. We felt that A Link to the Past deserved more attention than it already got in the game music community, since many of composer Koji Kondo's greatest and most iconic themes originated from this game. In celebration of the game's 25th anniversary, we set out to honour the legacy of its soundtrack by creating an arrangement album while also staying true to the awesome diversity that defines the remixing community. We hope you enjoy it! - William Harby (WillRock) & Emery Monzerol (DaMonz)

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