Liontamer

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Feels like it’s chord progression->chorus->chord progression->chrous->chord progression. Never made out the main melody. Am I missing other overt connections?

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Arrangement - Lucas Guimaraes Production, Mix, Master - Ridley Snipes Guitar Solos - BadHairlineProduction Look, I've done writeups that are novel length lately. I'm burned out and I don't even know why I'm on here posting this. idk. Trevor sent this master to me right before I burned out so I figured "might as well upload it before I forget". idk I like the serotonin. I'll come back to the larger internet eventually. I'm sure by the time this is posted y'all will be able to tie this into my public statement on burnout. we went for a Perturbator vibe here. uh song is on Pixel Mixers Octopath 2 album kthnxbyyyyyyye 0:00 - 0:11 (Intro) - Intro at 0:05 0:11 - 0:50 (A) - Cello melody at 0:05 - 0:30 on one of the synths 0:50 - 1:11 (A - Implied) - Bass part from the first 50 seconds. 1:11 - 1:28 (B Section) - 1:23 - 1:41 from the OG 1:28 - 1:42 (OG) - original content 1:42 - 2:19 (A Section mostly implied) - bass is implied from the original, motifs here and there. I can write all these out if it helps make a difference. 2:19 - 2:40 (A) - Bass, chord progression 2:41 - 3:00 (B) - Variation of the B section 3:00 - 3:17 - original content Games & Sources Octopath Traveller 2 - Osvald's Theme

Artist Name: Kabukibear I play around a lot with the rhythm of the first beat, the 8th note and two 16th notes: the little bom-deedle-dee idea. The parts I added, I tried to make it feel like it belonged, and also added a major section, playing off the ideas heard earlier. The fact that the piece sounds very classical was right in my wheelhouse and it was a lot of fun to arrange. Games & Sources Actraiser

Artist Name: Jewbei Wassup guys?? I'm BACK! I know... its been about 10 years since my last submission. A lot has changed since then, first off i got married back in October of 2023. i moved away from The City (New York City) and I now live a peaceful life in the suburbs of Long Island, New York. My wife is a Music Teacher, She is also a classically trained violinist, maybe some day she'll be on a remix with me. For the last 10yrs i dived into many different styles of music especially Drill music, but i have never strayed away from Trance, That is my heart. More about the Mix: This is a remix to Captain Bells Memorial Theme from one of my favorite NES games of all time... STARTROPICS. I have fond memories of playing this game as a child. i still play this game and its Sequel Zoda's Revenge till this very day. This remix came to be due to Jade asking me to give this theme a shot it turned out well! this remix was finished way back in 2021, but i shopped it around over the last few years to get feedback on improvement. I will say that this is a more "mature" sound from me I hope that everyone will dig this. Over the years i still came back and read all the reviews from the judges panel on my past works as a reminder not to repeat my old mistakes from my early days. I used it as a tool to get better. Anyways i have so much more stuff on the way. Be on the lookout! This wont be the last of Jewbei!

Artist Name: Dj Mokram When 'Seeds of Pandora' was in its final hours, I drive-by claimed 'Drifting' as the guidelines strongly encouraged use of world/ethnic instruments, aka 'my jam'. Ellone's bodyguards have always looked like Shinobi straight outta Wutai to me, thus this re-imagining through an Asian folklore lens. While the directors were pleased with my initial concept, the time frame to deliver a finished mix up to OCR standards was very short, and with my hearing limitations I had to withdraw. Thankfully the spot was filled by Mel Decision and Zack Parrish, who did an amazing job with their ambient take. After that I've kept working diligently on my remix for several centuries, and will now attempt to tickle your fancy with its final iteration. Contrary to my previous work in this genre, the arrangement doesn't contain hybrid film score elements or breakbeats/drumbeats. This is a traditional folklore interpretation, made primarily of instruments native to Asia. Since the melodic content in the source was so transient, it could easily be made unrecognizable. To avoid that scenario, I elected to keep every note from the original, then expand thematically. The biggest change comes in the form of the peculiar choice of instruments and the different mode/timbre they naturally imbue this piece with. The arrange is built upon and interspersed with many variations and flourishes that aim to break the source's monotonous flow. For example, the short 'Final Fantasy Prelude' excerpt at 0:36, played in a Hirajoshi scale making it sound slightly strange, especially in contrast to major and minor pentatonic. The arranged source melody is accompanied throughout by a steady and evolving percussion bed, comprised of a custom 7set Taikos (Odaiko, Nagado Daiko, Katsugi and Okedo Taiko), plus a 4set High and Low Tablas to spice things up. The aim was not only to complement and punctuate the main assortment of instruments playing the source material, but also to add low-mid and low frequency presence/boost to the mix, both being almost nonexistent in Uematsu's original composition. There was also a conscious focus on my part on dynamics, to instill life into the piece, once again in contrast to the droning nature of the source. To that effect, I've layered each chord from the original melody into 4 separate instruments: Shamisen, Shakuhachi, Koto and Guqin. The first two being played in a more modern way to allow smoother transitioning from melody to phrasing. That way they can take turn phasing in and out alongside percussion buildups, in order to dial the intensity of the piece up or down, keeping things lively while the main melody remains at the forefront, even if momentarily subdued by an original phrase. The intricate ballet between personal interpretation and source representation was a delicate balancing act that I tried my best to enact with respect, to both the composer and his longtime fans. The title 'Hyoryu Kioku' means 'Drifting Memory', which encapsulates the intangible grasp of time and space, tied to Ellone and Squall's relationship, both drifting through memories while striving never to be forgotten. 'Drifting' isn't the most riveting piece in the soundtrack, nor is it the most beloved and remembered song from the game. It is a simple, understated and contemplative piece of music, which happens to be my favorite track from Final Fantasy VIII. Hopefully I've managed to do it some justice, however unconventional. In before the unanimous "NO, please never resub". xD Games & Sources Game: Final Fantasy VIII Source: Drifting Composer: Nobuo Uematsu

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It took me quite a while, but as of a couple of years ago, I BELIEVE I've gotten all of your song identifications here entered into the database. From one data nerd to another, I can't express enough how much I appreciated your thorough work in identifying all of these themes being referenced. :-)

It feels practically impossible to meet the arrangement standards at 75 seconds long. Expands on the theme's texture well with the dense guitar work, and the drumming. The panning arguably may feel too wide for some; it's not majorly bothering me on my headphones, which is surprising given how wide it is. At :40, there's another iteration of the verse and chorus, and it's practically the same; if it wasn't a cut-and-paste, it might as well have been. And there's 0 ending or resolution beyond the track abruptly stopping. On the development side, this is just too short, and it doesn't go anywhere beyond the (excellent) genre adaptation. For a good example of a metal cover that develops things well, check out BrainCells' Super C piece "Against the Rest". Look at the dropoff at :47 with a mellower interlude, then soloing over the foundation of the source tune from 1:11-1:34; there's lots of way to personalize your approach further, help make the overall track more substantial, and also help it better stand apart from the original music, per our Submission Standards. Here's another example in a different genre: https://ocremix.org/remix/OCR04414 -- in that writeup page, I link 10 other examples of melodically conservative arrangements we've posted so you can hear and compare what other interpretive techniques you could employ. Good base here, Aaron, and once again, solid musicianship. Forgive me if I'm ignorant and you're already there, but, if not, DoD would love to have you; you should be there as well! If you're intending this for OC ReMix, the arrangement needs to expand beyond such a relatively straightforward & brief cover. NO

Artist Name: Aaron Lehnen My arrangement was a fun technical metal re-envsioning of the notorious underwater level theme. I always loved this tune in the game despite the anxiety trying to swim around disarming the bombs in the dam. Games & Sources Today marks the 35th year anniversary of that awesome but brutally difficult Nintendo game. Platforms: Family Computer, NES Year: 1989 Developed by: Konami Published by: Konami, Palcom, Ultra

Swanky cover at :11; good personality to it. Better snap to the beats at :31 than Lucas's previous XC sub I judged, though I'd argue the pattern lasted too long until 1:09. Very nice dropoff at 1:09. Beats are back at 1:29. 1:48 goes for another section of the theme and I like the guitar work behind it until 2:17. Brief dropoff at 2:17, then goes back to the previous textures until ramping up at 2:29 with a synth line that was cutting through well until that finished at 2:59 and wrapped up. 2:19 would have been a good point to vary up the core beat pattern, but other things were significantly changing around it, so I'll have to live with it, even though it plods for me. Still, this is definitely a cool approach to a melodically conservative arrangement; the part-writing, performances, and textural changes. Diggin' it! YES

Weird direction to take this theme in. The kick at :26... where's the beef? TSori arrives at :51 and his trumpet doesn't cut through at all; seemed like it should ring out more in the foreground. Really don't know why this mixing sounds so nerfed. Maybe another J can better articulate why the balance feels off, or maybe Chimpazilla or ZackParrish would have some thoughts on the mastering side too. If this passes as is, I'm OK being outvoted and being a stickler. It'll feel like I'm demanding close to perfection. To me, smaller issues are adding up. This arrangement approach is fine, but the mixing is not good, and when the kick's in play, that beat pattern plods. The main electronic track sounds too lossy/distant, like it lacks high-end. Feels like TheManPF's contributions don't cut through during the verses. There's occasional random awkward noodling or sour notes in the background (e.g. 1:38, 3:06). From 2:49-3:13, it feels like there's a lot of rumbling/noise from the backing beats, while the synth and trumpet fight for who's the lead. The timing of the synth soloing from 1:42-2:23 feels stilted and resolves awkwardly. Good potential here, Lucas; the screws could use some additional tightening on the production side. Arrangement side's basically solid. NO (resubmit)

It was fine last time, it was simmerin'. :-P I hated you people the last time around and you still stink now! YES

Jeebus. OK then! :-P YES

Artist Name: TheManPF Additional artists: Zach Chapman; Connor Engstrom; colorado weeks We're back with another DoD tune, this time from HAL Laboratory month (otherwise known as Kirby month, because duh), I was in the mood for a cheesy pop ballad after listening to this song from the Spy x Family soundtrack (it's actually the THIRD time this anime inspires me to make a song, first with my little Smash Bros. rap, and second time with [REDACTED]). I was also looking for something with vocals and, as far as my research went, this is the only vocal track in any Kirby game that I could find. Worked well enough though. I did the arrangement, mix, electric guitars, yadda yadda, y'know the usual. The chord progressions in this arrangement are completely reharmonized, I usually don't reharmonize much on my vgm arrangements, because I like keeping things faithful and recognizable, but I didn't love the chord progression of the original, and it didn't really fit the cheesy pop ballad mood that I was going for, so I tried rearranging the chords in a way where it brings a more cheerful and hopeful mood rather than an eccentric rock-y one the original had. The vocal melodies are untouched (except for a very slight change in the pre-chorus), and some core melodies from the original also remain intact to keep the identity of the source recognizable. In the bridge where the guitar solos happen however I made use of the chord progressions of the original song because I think it brought a good contrast. The lyrics in the original are gibberish, but the ending credits provide a very nice "translation" of the lyrics which are already structured to be sung along to, which made the job of fitting the lyrics in the arrangement a lot easier, neat! My concept of this arrangement "World of Pink" is a rose-tinted world, a happy place you can go to in your mind whenever you feel exhausted from the outside world, you go there, and you have a happy time, you can relax and enjoy, everything is perfect, and you don't have to worry about anything. Of course this is more of a fantasy for us, and eventually it vanishes and we have to go back, which is what I try to express with the ending being slowly bitcrushed. I've been in a bit of a funk lately and I've found myself doing a lot of feel-good-y music for the sake of trying to fill a little bit of a void, and having music like this to listen to helps me relax and feel a little bit better. Zach is once again playing the bass for me, he's always been a super talented bassist, but I feel he has been improving a lot since he's started, he improvises and sticks his own bass lines, he brings me stems faster than anybody else, and his recordings are always squeaky clean. I'm incredibly lucky to be able to work alongside someone like him. I invited Connor Engstrom to play acoustic guitar in this track, who you might know as one of the guitarists from The Tiberian Sons (!). I left my acoustic guitar back in Argentina years ago, and I haven't been able to get another one to record, so I'm in the need to get someone else to do it for me. It also happens that the person I got for it is a lot more talented than me, and not only is his rhythm playing extremely tight, I also took the opportunity to stick a solo section for him because I knew he would be able to pull it off with flying colors. I haven't collabed with him before and that's a big mistake, he's one of the best collab partners I've ever had. colorado weeks did me the favor of singing this one. I love vocals, I love lyrics, I love music with vocals and lyrics, and almost every time I do a vgm cover I find myself finding excuses to put vocals on everything, and when I do, I usually like trying to experiment with different singers. I've met colorado weeks in the OCR discord first but also noticed them hanging around DoD from time to time, I noticed they had a "vocals" role, and checked out their music. WOW. Angelic voice, I need this in a track of mine asap. It was really fun to collab with them and they did a fantastic job at nailing the exact kind of vibe I was going for with this song, even if I think this was very challenging for them to pull off, so kudos to them! This entry ended up placing 4th out of 22 tracks in HAL Laboratory month, which I think is pretty decent considering I actually struggled to finish this one very close to the deadline, even with a non-ideal mix. This version is improved a bit from the DoD version, and I hope you guys enjoy it as much as the DoD community did (: Lyrics: Strange horizon, ready to go Feast your eyes on a new world A new dreamland, a new place where you'll laugh and smile Along the way, stuff your belly and nap awhile No one can hold you back, new fields full of mystery The sky's opened up, and there's so much to see Running wild Just let your heart take the wheel and show you the way Fresh spring breeze Adventure is awaiting you in the fields of a new world Don't be afraid, face your fears and you'll hunger for more The tension builds, plunge ahead on this thrilling tour Think of all the friends you've made, all of them living free Their cares have been washed away by a wild sea Laughing loud Even if you're far apart, they're right by your side Hearts full of love Everybody here is welcome to live in this new world Strange emotion, what do you feel? Roaring ocean of a new world Open hearts already fluttering free and riding the breeze Nothing but love to share with everyone we know New world New world New world New world Games & Sources Game: Kirby and the Forgotten Land Songs arranged: Welcome to the New World! (https://youtu.be/vUS-Za5MhMg) Original composer: Neichel; Shinya Kumazaki; Tadashi Ikegami; Taro Nagata; Yuuta Ogasawara (whew that's a lot of people) System: Nintendo Switch Year: 2022

Artist Name: Black SeeD Hello again, Another track from my album (Black SeeD - Wings of Renaissance (2024) (Full Album) (youtube.com)) ! So this one is a mix of FFX "To Zanarkand/The Truth revealed/Sprouting" and KH2 "Dearly Beloved". Genre : Atmospheric/Melodic black metal (no surprise) There is stuff from the 3 versions of "To Zanarkand" theme. - There may be too many source usage ? The 3 theme have the same main melody of course, but I'm also using specifics from the three of them, so if this should be categorized only as a Sprouting or Truth revealed and Dearly beloved, I'm fine with it. Intro is from the truth revealed. From 00:00 to 00:47, then a breakdown from To Zanarkand bass melody, then back to Truth revealed using again the bass melody, guitars are coming in with hints of the violins melody from Truth. Short breakdown with the general main theme of Zanarkand (almost). Then, calm break to introduce our good friend "Dearly beloved", without using the high melody yet. 04:15 : The chorus ! This contains the high and mid melody of dearly beloved, hints of "To Zanarkand" melody with the bass (01:00 - 01:04 in the original song), the whole lot on the chord progression from Sprouting (I started the track as a Dearly Beloved/Sprouting remix). Then we have some earlier section coming back, with the mid melody of Dearly Beloved added. I hope you'll enjoy that mashup ! Games & Sources Final Fantasy 10 - Truth revealed/To Zanarkand/Sprouting : Nobuo Uematsu

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

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