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I broke it down just so I'd know what game to classify this under: 0:04-1:07 - "Mipha's Theme" (BotW) - Yasuaki Iwata 1:18-2:24 - "Lake Floria" (SS) - Hajime Wakai 2:24-3:01, 3:03-3:38 - "The Great Ocean" (WW) - Kenta Nagata 3:03-3:42.5, 4:55-5:01 - "Ballad of the Wind Fish" (LA) - Minako Hamano 3:52-4:27, 4:46-4:57.5 - "The Wind Fish Awakens" (LA) - Kazumi Totaka 5:04-5:09, 5:11-5:23 - "BotWF" variant 4:27-4:46 - "Water Side" (BotW) - Hajime Wakai YES, as a formality. I enjoyed. :-)

Artist Name: TheManPF Additional artists: Zach Chapman; angrypolarbear; Ronin Op F; Jake Helland Last month on DoD we had what a lot of people called a pseudo free month due to the source choice freedom, Super Smash Bros. month, I personally picked that theme last year because I believed it was way overdue for one of those right? It's a celebration of videogame franchises and we're celebrating that celebration with more video game music, neat! It's very rare for me to cover the same game twice, let alone the same theme!! But that's basically what this is, it's technically a different song, but Final Destination takes heavily from Brawl's main theme and it wouldn't exist without it, it's also a track that I always adored and, like I said in my last Smash Bros. submission, I always wanted to cover but didn't know how. This time, instead of going outside of my comfort zone, I did the opposite, I've became a lot more confident with my metal sound lately and I wanted to embrace it, and did an arrangement that stays somewhat conservative but takes it to the next level, with some help from my friends, of course. Chris "angrypolarbear" Doughty is someone who I never collabed with on a main track in DoD before and that's a blasphemy, it's also someone who I can't find in the OCR database, how come???? Here he is in keyboard duty, playing all of the pianos, synths (including improvised solos!) and also helping with the choir. He's a beast, and everything he does he does it with a lot of passion and love, and I'm glad I could have him on my side for this one. Ronin Op F is my go to violinist, he absolutely shreds on his thing and delivers his parts with a lot of finesse and even does his own solos, please give him more praise! He deserves so much more spotlight than he gets. Jake Helland helps with the acoustic guitars in this one, in a middle break taken straight from wily theme, where I have him shred on steel and nylon strings for a few measures, he's the final piece of the puzzle in the Dog Food For Bananas group, which I thought would be super awesome to have all three of for this collab. Zach is delivering the bass lines and he, of course, as always, absolutely kills it. He also recorded a few vocals for the choir along with Chris and I. I did some guitars choir arranging mix etc whatever that's not important tho This is the first time in what feels like forever that I get a medal in DoD (2nd place!!), I purposefully tried to go out with a bang since, like the title implies, this is the end for me (for now), and I want to drop DoD mains for a while, while I focus on other fun things that may be coming in the future, look forward to it! Lyrics: Audi famam illius Solus in hostes ruit Et patriam servavit Audi famam illius Cucurrit quaeque Tetigit destruens Audi famam illius Audi famam illius Audi famam illius Audi famam illius Iuxta me Socii sunt mihi Qui olim viri fortes Rivalesque rant Saeve certando Pugnandoque Splendor crescit Spes omnibus mihi quoque Spes omnibus mihi quoque Audi famam illius Solus in hostes ruit Et patriam servavit Audi famam illius Cucurrit quaeque Tetigit destruens Games & Sources Games & Sources Game: Super Smash Bros. Brawl Songs arranged: Final Destination (https://youtu.be/sqYpWVH0wOQ) Original composer: Nobuo Uematsu; Uematsu composed Brawl's Main Theme, the Final Destination version seems to be arranged by Takahiro Nishi? Not entirely sure, this information is surprisingly hard to find System: Wii Year: 2008

Silly as hell. I chuckled. :-) YES

Heard this a few times in this past week's Office Hours with the Sages and I was all about "Tone these drums DOWN, there's no synergy!". Josh admitted he was too close to things to be able to say whether that should happen or not, but Melly Mel thankfully knew what was up, so we got the adjustments to pull 'em back, particularly during the middle of the track. :-P Great treatment of the theme. Major props for Nemo's stylish and emotive delivery which effectively handled two styles of vocal performance; I enjoyed the treatment on her vocals to give them a spacious feel. I appreciated the story behind the lyrics; very cool! A subtle thing, but strong use of the SFX at the beginning and at 3:09 to bookend the piece. The drumming was good, it just needed to know its place amidst this soundscape, which was subordinate to the vocals. :-) The DoD version would have gotten my approval as is, and there's no major changes, but it's nice to have an even stronger version now. Just need to get a proper fade to 0 here, but that's easy enough. YES

Artist Name: Mike Norvak I made this remix on a 190BPM midtempo style as some of my other ReDoomed tracks. Probably a bit dated or weird choice to release it in 2025 when EBM is loosing force with more 90's sounds taking makin stage but I still love the energy and darkness of this genre, however the use of Acid FM sounds instead of virtual analogue or wavetable synths gives it a fresher approach IMHO. I think this remix can actually work on OCR with the hype of the upcoming Doom: The Dark Ages, I hope a release date has been announced when you read this, so please consider this submission bearing that in mind 🙏 Games & Sources Doom (1993) Robert C. Prince At Doom's Gate

Artist Name: Mel Decision Drums: @paradiddlesjosh Vocals: Nemo Fairlight November 2024 was David Wise month at Dwelling of Duels! I narrowed down on the Donkey Kong Country soundtrack pretty quickly (because let's be real—it's a banger) but didn't want to do the more obvious choices. I loved the soundscape and overall vibes of Life in the Mines: deep, desperate, driving, and bittersweet. After listening to it a few times, I was able to picture where I wanted to take it. I liked how the melody and countermelody played off of each other in the original, and thought that vocals would help enhance that back-and-forth between the two. I got the phrase "take me with you/I want to go home" stuck in my head while I started arranging and ended up creating this story about a miner injured after a cave-in and their struggle to find their way out of the mines, while the spirit of their long-dead lover urges them forward. That helped me frame the lyrics. I recruited Nemo Fairlight to sing, and she was able to tackle both parts with ease, bringing a sense of desperation and hope to the parts that I thought really made the song work. In terms of instrumentation, I wanted to do a mix of synths and pads but bring in some orchestral elements like harps, strings, and a little flute. I relied on piano to reinforce the melody. I kept the bass part simple because I planned on recording it myself. I also played in a few of the backing tracks with my midi keyboard; DoD's been a great excuse to practice. I was also unsatisfied with my first few attempts at percussion on the track, and asked paradiddlesjosh to write something instead. He came back with a complex, driving groove that helped build momentum and intensity throughout the song which I was able to build on with some additional percussion for texture. I normally usually use even more fx in my tracks, but I wanted to keep this one a little sparser and just relied on some ambiance and percussive texture to build out the picture of a mine. I hope I was able to create a moody, evocative piece that does David Wise's original composition justice. Lyrics: VERSE 1 Cold and dark (Dark as night) Lost, alone (So alone) Whispers echo (Echoing) In my ears VERSE 2 Memories (Long ago) Of your voice (Tears within) Take me with you I want to go home VERSE 3 Hope decays (Into earth) Breathing slows (Air is thin) Steps uncertain (Help) As walls close in VERSE 4 Hear my cries (Voice so weak) Through the gloom (Bleeding through) Quaking softly I want to go home BRIDGE Through the dark I crawl (Striving to survive) I fight (Go!) To see the light (Where is the light) If there's strength left inside my bones (Reach deep inside) I'll hold on tight (Embrace the strife) (Go on, that's right) VERSE 5 Glint of light (Somewhere close) Flickers near (Steady now) Fragile sparking (Catch) Will faith be reborn? VERSE 6 Voices close (Are you there?) Help is near (One more step) Take me with you I want to go home, go home (Take me with you) (I want to go home) OUTRO Take me with you I want to go home (I want to go home) Games & Sources Donkey Kong Country – Life in the Mines

Artist Name: shodan A chamber arrangement of several dungeon themes from the early Zelda titles. This era of dungeon music was very chromatic, so I saw it as an interesting exercise in getting the themes to play well with each other. Started out as something closer to a serialist experiment, which wound up being unlistenable. In the end, not atonal, but flexibly tonal. There are some original ideas in here, but the major motifs that glue them together are clearly lifted from these three pieces. Begins with a slightly dramatic interpretation of the dark world dungeon theme, and the chromatic tremolo motif occurs frequently. Then moves onto a much lighter take on the NES dungeon theme. Closes with a brief reprise of some of the first ideas, incorporating light and dark world dungeon themes. Games & Sources Legend of Zelda (NES) - Dungeon theme (composed by Koji Kondo) Legend of Zelda: A Link to the Past (SNES) - Sanctuary Dungeon (composed by Koji Kondo) Legend of Zelda: A Link to the Past (SNES) - Dark World Dungeon (composed by Koji Kondo)

Ha, nice lil' pump going on once the source melody came in at :32. Bass also sounds great! Chorus at 1:11 felt like it should have been clearer and not had the pumping, but those are just personal taste things. Wasn't digging the directionless feeling from 1:36-1:52, but it was short. Love this piece; you clearly had fun with it, and there's so much personality added to this rendition of it through the slower tempo, honorific sound design, and copious voice clips. I'm a Homestar Runner fan from way back, so anything with the Brothers Chaps in it has my seal of approval. :-D Great change of pace from 744! YES

Original Decision Artist Name: Eino Keskitalo Hello again and again, panel! Another oldie but goldie. This was my piece from KNGI Game Duels EP vol.1, that I've touched up for the OCR submission. Which has now taken me from 2012 to 2025. I did take 10 year break somewhere in there though. Thanks to Guifrog, Rozovian, the WIP VIP Hemophiliac, Dj Mokram, pixelseph and the panel (and others!) for feedback during these years! There is some story behind this track! KNGI Game Duels was an EP of mash-ups.. I think it was the brainchild of Dj Mokram back in the day on the KNGI forums, after a few other album projects were hosted there. It had a cool theme of every arranger pitting two character types out of three against each other in a single arrangement. I picked a couple of games I had played recently. To represent ninja, I picked Ninja Gaiden Sigma on the PS3 that I played through with a friend around then. The aquaduct level music stuck in my mind as being pretty cool. It turned out to be quite challenging to transcribe and arrange, but today I think I did a pretty good job! To represent warrior, I picked a homebrew C64 game Knight 'n' Grail.. which by now is about 15 years old? I'd played it a bit and enjoyed the mood & music. The Ninja Gaiden source tune is from the original Xbox version. I think the Sigma version is a bit different, but maybe I couldn't find a reference source for it so I went with the original. Having gone through the gauntlet of varying feedback this somewhat strange arrangement is now pretty different when it comes to the mixing, and a bit different when it comes to structure towards the end. So this is definitely an alternate take to the EP version by now! It was especially interesting to really tone down the bass after the panel feedback. Hopefully this is decent enough to pass now so that this particular ghost can stop haunting me ... Source breakdown: The arpeggio from Ghost Castle plays from the beginning, starts to weave in and out and the last whispers may be heard around 3:08 or so. The two-note figure that plays in Aquaduct 0:00-0:38 is played 0:00-1:00 (though in 6/8 and 7/8 instead of 4/4) Dropping the bass to C# in Aquaduct at 0:20 is reflected at 0:45-1:00 (although the bass does come back to D# in the arrangement before going back to C#) The melody from Title Screen plays at 0:28-1:00 The melody from Ghost Castle at 0:47-> hums quietly in the background at 0:45-1:00 Aqueduct 0:39-> is approximated at 1:16-2:07 The two-note figure from Aquaduct plays at 2:07-2:38 The melody from Ghost Castle is played from 2:07->03:11 The bass in the final section 2:07-> also follows Ghost Castle chord changes. 03:27-> the title screen melody plays again That's about it. Cheers! --Eino Games & Sources 💫 RESUB 💫 Aquaduct from Ninja Gaiden (Xbox): https://www.youtube.com/watch?v=Q9qD2WA2CxQ Title Screen from Knight 'n' Grail (C64): https://haxel.bandcamp.com/track/title-screen Ghost Castle from Knight 'n' Grail (C64): https://haxel.bandcamp.com/track/ghost-castle

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I'm digging the dark, deliberate weight of the bells, liked the textural changes at 1:20 & 2:56 for the choruses, and appreciated the backing guitar going meedeley-meedeley-meedeley the first time and then screeeeeeech the second time, during those choruses. Some Js claimed the drums plodded, yet to me, the overall textural complexity amidst the slower tempo meant the drums as written were working very well. From 2:54-3:48, the drum kicks with varying intensities was a very subtle yet nice touch, so the relative drum-writing sophistication was on point for me. Loved the final winddown at 3:48, with the warmest most upfront tone yet for the guitar lead yet and beautiful cymbal work. There were so many low-key yet overt ways the textures were varied up over the course of the piece (if you're paying attention). Whatever ways this could be improved would just make a solid thing better. Nice debut, Pipko; definitely a lot of be proud of here! :-) YES

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It’s still 4/4 throughout.

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Awaiting the eventual "Old Fogies from IRC" thread :-D Feel free to join the Discord server! https://discord.gg/ocremix

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I'd have to time out the music to be sure it's arranging the sources for more than 50%, but the overall concept seemed solid. Strings at :05 sounded really bright/piercing yet had no clarity, which didn't bode well for the overall mixing. Immediately not feeling the drums at :29, which sound super duper hollow and fake, which dragged down the overall cohesion. The drum writing should be more punchy and interesting for the first section (and somewhat in the second half like proph noted), but otherwise the writing throughout the tracks seems cool and doesn't need to be touched as long as the source usage is dominant. Piano at :29's also very mechanical-sounding, then the string sustains are particularly exposed from :38-:48. Voiceover at :48 seemed to be occupying some of the same frequencies as the music, because it wasn't cutting through to the foreground. At 1:01, some bowed strings entered the background and the soundscape felt muddy. Lots of clarity issues. Vocals moved over into chipmunk stuff at 1:28 (I know it's Worms-inspired); they weren't understandable at all (less so than the source's vocals), but I'll live. Shift at 2:13 to the Worms 98 version of the source. Around 2:27-2:37, was hearing lot of plossives and heavy breath, like there was no pop shield for the recording mic. From 2:45-3:05, the voiceover's completely bowled over by the music. Maybe on monitors this didn't sound problematic, but on headphones it sounds like mud. This is a cool concept, but poorly mixed. (EDIT - 2/1/25: "Poorly mixed" for you relative to what I've previously heard from you, not "poorly, shittily mixed, this is trash." This IS currently messy.) I'd argue the voiceover stuff felt too similar to the original sources, but I'll live, since the music itself is transformative. The sample realism issues I had didn't make a difference in the second half, but definitely hurt the first two minutes in a significant way. Needs more production TLC before we can roll with it. Good base here, regardless! NO (resubmit)

An arrangement premise I can get behind for sure, Super Turbo in the style of Alpha 2! :-) Nice lil' time sig change at :49, then a cool gong shot at 1:02. I'm liking the basic change in the supporting writing to really add some fresh character to this treatment of Fei Long's theme. At 1:52, there was an effective dropoff before coming back with the beat at 2:06 and getting funkier with the interpretation. Haha at the "ATTA!" at 2:44. ;-P There could be more dynamics in terms of the overall groove, but what's here is definitely quality and deceptively well-developed. Nice work, BT! :-) YES

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Artist Name: Genesis 83 I wanted to do a 90s House style version of Dreamer from Streets Of Rage 2 as an experiment and to test my own musical capabilities having been self taught and having zero musical knowledge. This Track was composed in FL studio. Yuzo Koshiro the original composer is a legend to many of us on OC Remix and his music has stuck with me from me childhood to adulthood. I hope i have done the track justice. Games & Sources Streets Of Rage 2 - Dreamer and Various SFX

Pokémon TCG Pocket came out 2 months ago (Oct 2024), and people were recommending that I try it out. Uh, well, I ended up getting hooked (my favorite decks are Greninja Starmie water control and Celebi Serperior grass aggro), but I also decided to write a ReMix for it! The OST had such a coherent style, and some incredibly intelligent music theory behind it as well. I ended up combining the Title theme with the theme you hear during a Wonder Pick ("Feed Challenge Menu"), making sort of a Jazz Fusion arrangement with some 80s sound design. For the writing process, I actually tried playing out chord progressions with my MIDI keyboard instead of trying to visualize and mouse them in, and that led to more explorative results! :-) I also must shout out that a recent FL Studio revision let me put unique fades/volume adjustments on audio clips, which really helped my workflow; I finished this in less than 18 hours across a month. This actually had quite the overhaul at the beginning - the first version used acoustic drums, but it was just too dull (I think I've gotten spoiled by electronic drums :-P). I also had a few moments where I pulled a Mike Portnoy and said, 'yeah, you know what, I'll break some rules and just ADD or SUBTRACT a beat because it sounds right' (you'd hear him talk about messing with a time signature formula he had established, during his Drumeo video learning 'Pneuma' by Tool). I added a 4/4 measure at 0:33, added a beat at the end of 1:24 and 2:23 (making it 7/8, 7/8, 7/8, 8/8), and took off a beat during 1:41 - 1:55 on each measure (making it 7/8, 7/8, 7/8, 7/8). Other than that, I think this pretty much wrote itself. The instruments were mainly Zebra2 (E. Piano layer, Bells, Lead, Bass layer), Neo-Soul Suitcase (E. Piano layer), Shreddage 3 Precision (Bass), and Juggernaut (impacts, sweeps). And with that, I hope you enjoy, and... since heads has always been a good result in this game, may your coin flips always be heads! Extra Info: Source Breakdown: 0:00.00 - 0:36.13 ~= 0:00.00 - 0:34.76 (Title, loosely-similar chords) 0:36.13 - 0:52.50 = 0:34.76 - 0:53.08 (Title) 0:54.44 - 1:10.70 = 0:53.08 - 1:09.35 (Title) 1:10.70 - 1:23.68 = 0:00.00 - 0:03.87, 0:07.72 - 0:11.60 (Feed Challenge Menu in 7/8) 1:25.45 - 1:41.73 = 0:00.00 - 0:03.87, 0:07.72 - 0:11.60 (Feed Challenge Menu, different bass) 1:41.73 - 1:55.98 = 0:00.00 - 0:03.87, 0:07.72 - 0:11.60 (Feed Challenge Menu chords) + 0:53.08 - 1:09.35 (Title melody in 7/8) 1:55.98 - 2:06.60 = 0:03.87 - 0:11.60 (Feed Challenge Menu; straightforward) 2:10.20 - 2:17.32 = 0:03.87 - 0:11.60 (Feed Challenge Menu; straightforward) 2:24.94 - 2:57.49 = 0:53.08 - 1:09.35 (Title; melodic variation + new bassline) 2:57.49 - 3:10.45 = 0:00.00 - 0:03.87, 0:07.72 - 0:11.60 (Feed Challenge Menu in 7/8) 36.13 + 16.37 + 16.36 + 12.98 + 16.28 + 14.25 + 10.62 + 7.12 + 32.55 + 12.96 = 175.62/197.43 = 88.95% source 36.13 + 16.37 + 16.36 + 14.25 + 32.55 = 115.66/197.43 = 58.58% Title 12.98 + 16.28 + 14.25 + 10.62 + 7.12 + 12.96 = 74.21/197.43 = 37.59% Feed Challenge Menu Games & Sources --- From what I could find, the in-game credits have these people on the sound team: Axumi Ito, dattxua, Harumi Yamaguchi, Takuto Kitsuta --- Title: Feed Challenge Menu (if you've played the game, it's actually the Wonder Pick screen.):

The little accenting sounds brought in at :13 are too piercing, IMO. Actually, the sweep from :53-:58 was grating too. It's not pleasant on headphones; the highs should be cut. More of the same issue from 1:17-1:38. Love the brief dropoff at 1:38, then some beats return at 1:49 to give it more direction & drive. At 2:10, the change in the melody was briefly meandering, but no big deal. Nice lil' transition sound at 2:20 to the sustained synth line; love the subtle dynamic here. The highs should really be pulled back so this doesn't sound so piercing on headphones, but that's no reason to hold it back as is. The adjustments have made this sound much more cohesive; I didn't have any reservations of this sounding like a WIP this go-around, and the subtle dynamic curve works very well here now. Nice work channelling a mysterious and delicate approach to the source, Brad! :-) YES Edit (3/26/25): From 1:07, the accenting sounds are still piercing, moreso from 1:17-1:38 when the pattern's more active, but less so than before. :-) It's slightly less of an issue from 1:49-2:20, but still going on there as well. I'm still at a point where, ideally, they'd still be adjusted, but still not at a point where my vote's conditional.