Liontamer

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Started this originally as a challenge to try and make a remix / arrangement in 2 hours again but was met with failure as I had only reached about 2 minutes into the piece before reaching the end of that sprint. Shared what I had with Emunator who teleported to my house somehow and threatened me if I didn't finish it. Fearing for my life I obliged and spent several more weeks working on it off and on in bits and pieces... sometimes sharing it in the workshop and getting feedback from Hemophiliac and some others in private. Eventually I tapped on the shoulder of Jesus once again for some Irish whistle treatment and he delivered as always. I've always loved this particular theme ever since playing the game originally back in 1999, because of the tragedy of Rena's background story. No spoilers. I have played around with different ideas for it before but apparently it took a spontaneous sprint to really get anything solid down and then a threat from a kind lunatic to buckle down and finish it. Irish whistle, performed & record: https://ocremix.org/artist/14128/e-jesus-chic-acevedo Games & Sources Star Ocean: The Second Story, Theme of Rena

Hey Josh, I'm asking the ReMixers on your behalf, and I'd also recommend joining our Discord server if you're not already there: https://discord.gg/ocremix Best of luck on the paper!

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From Cyril the Wolf For the Impact of Iwata album. When the album opportunity was first posted, after reading the briefs on the track selection I immediately knew that I wanted to do something from Kirby's Dream Course. Until the post I had no idea Iwata contributed to Golf - though I knew he was a large part of some of the Kirby Franchise. Since Golf lacked a soundtrack I wanted to do something from one of my all time SNES games. I had some help - as while I take great pride in my ability to slap the bass my guitar work does not always keep pace. Zack Parrish helped with some clean funky guitar rhythm in the first part and a fantastic fusion-influenced guitar solo at the end. There's a lot of different sounds happening with this song in the original and I definitely wanted to keep that spirit - but one thing that I felt had to stay was the TRUMPET - so in the spirit of Mambo No. 5 I had TSori (also Project Director) contribute some live trumpet parts to really tie this all together. The entire form of this song was a result of me grooving to a metronome - none of the bass parts changed from the initial arrangement though I did several takes to make sure the groove was as slick as possible. So happy to contribute to this project. Games & Sources Funky track that plays at the end of every course. Kirtby's Dream Course - Cloudy Mountain Peaks Composer - Hirokazu Ando

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I'm cool with it now, babyyyyyyyyyyyyyyyyy! YES

Original Decision The submission link: Original Judges Decision: https://ocremix.org/community/topic/52590-no-f-zero-top-gear-top-gear-in-mute-city/ Your ReMixer name Kyaku Your real name Richard Westbrook Your email address Your website(s) https://www.youtube.com/@kyaku_ongaku Your userid (number, not name) on our forums, found by viewing your forum profile 38541-kyaku Name of game(s) arranged Top Gear and F-Zero Name of arrangement Top Gear in Mute City Name of individual song(s) arranged Top Gear: Track 1 and F-Zero: Mute City Additional information about game including composer, system, etc. (if it has not yet been added to the site) Both are popular songs for remixes so I imagine I can’t add much more here, though please let me know if I need to. Link to the original soundtrack (if it is not one of the sound archives already available on the site) Top Gear: https://www.youtube.com/watch?v=iAMvfv6X8xs F-Zero: https://www.youtube.com/watch?v=QxU0eHnQjo8 Your own comments about the mix, for example the inspiration behind it, how it was made, how the source material was referenced in the arrangement, etc. I hope OCR’s standards never lower and in fact only get more stringent as the years continue. I frankly jumped the gun on that previous submission and you were right, it showed. After implementing additional feedback and making other changes, I am confident this version is improved. Whether or not it’s good enough is your call! I am glad that I had a chance to work on it a bit more though. I was tired of it at the time of first submission but sometimes it takes a kick in the rear to finish the job. No matter the decision, let’s keep on jamming! And thank you judges for your feedback.

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Noticeably smoothed out the sax (thanks, Zack!) NOW we're playing with power! YES

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Artist Name: minusworld Alright, so first things first: This is a VERY transformative arrangement. The key is minor, melodies are edited to fit the groove, and the solo sections aren't really tied to the source. I realize the liberties I took with this one might DQ it outright. With that said (er, typed), let me draw a map from source to cover. :) SOURCE ---------------- COVER Flute intro ----------- N/A Piano chords --------- Synth stabs A Section ------------- A Section Piano melody ---------- Guitar melody (rhythm and pitch changed to fit) - Phrase 1 --------------- Ending pitch changed to fit minor key - Phrase 2(chord change) - Changed to 2 notes - Phrase 3(I chord again)- Modified to fit rhythm - Phrase 3 2nd time ------ Phrase is very different, only superficial similarities - Transition Phrase ("hopping" piano to horns) -- N/A B Section ------------- B Section Woodwind melody ------- Guitar melody - Phrase A --------------- Some note pitches altered, rhythm extended for longer, embellishments (slides) added - Phrase B --------------- Extended phrase - N/A --------------- Added ascending scale back to Cover Phrase A, which isn't repeated in source Piano melody ---------- Guitar melody - Phrase A --------------- N/A - Phrase B --------------- Some note pitches altered to fit key Transition ------------- Transition Woodwind chords -------- Evolving synth chord A Section ------------- A Section (same as A Section above, plus) Flute countermelody --- Sax countermelody - phrase ending cut off B Section ------------- B Section (same as B Section above, but with different instruments) N/A ------------------- Solo Sections N/A ------------------- Flute solo (Zelda main theme motif at the end) N/A ------------------- Sax solo N/A ------------------- Guitar solo N/A ------------------- Outro Features A section piano melody, but with an extension at the end to fit the rhythm Track credits * SableProvidence - Flute * Jess Destramp - Alto & Tenor Saxophone * minusworld - guitars, bass, VST programming, arrangement, production This was my submission for DoD's Silent Protagonist month. The inspiration for this track is the synthwavy tunes on Jack & Owane's albums, such as the song "Glitter". I didn't really listen to synthwave before working on this, and I discovered The Midnight, mitch murder, and others during the process. I wanted to focus on the interplay between instruments, so SableProvidence and Jess Destramp join me to trade some soaring lines. :) Games & Sources: Legend of Zelda: Tears of the Kingdom - Lookout Landing - https://www.youtube.com/watch?v=4qtwKvFxHRY

Noted!

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Very muddy soundscape, whoa. Cooler lead at :16. The warbling synth at :01's probably too busy, but maybe it's just me. The percussion has no solidness to it. The kick just sounds like a thud, and this probably needs a snare with some snap to help give this more depth. The lead writing from 1:24-1:45 was scattershot with loose timing. The part at 1:59 & 2:06 was so loud, then the saw at 2:10. Still odd sounds and no synergy to them, plus the mixing is cluttered and jacked. (Because I'm not a musician) I'm not sure how you go about figuring out what works beyond continuing to experiment, and going through trial and error. The theme choice remains strong, and moving from DAW to DAW will introduce its own set of hurdles, but you're setting yourself up for future success by being in the arena. I agree with MindWanderer, keep being persistant. NO

The new percussion (beats and kicks) sounds muddier than they should, IMO; if there's a way to sharpen that up some, it would be an improvement; it's not a huge drawback, but was worth noting. Zack's sax at 1:15-1:42 wasn't much stronger than Lucas's before it, and the warbling and lack of control were both hurting this still. I feel like you need a sax assassin to jump in here, because the sax remains a surprising weak link; doesn't have to be proph, but if he's willing to give it a go, he'll probably throw some spit polish on it. Still enjoy the arrangement and ALSO want it to pass, so keep on keeping on, Mel, don't stop now, chief! :-) NO (resubmit)

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3rd RESUB 2nd RESUB 1st RESUB Original Decision This is another attempt at this tune. I have learned some more production techniques, and I hope I have applied them better than in previous versions. I also took the advice Hemophiliac and timaeus222 left on the Post your Remixes section on the forums. This was all done on FL Studio 21, mostly with stock plugins or free ones. I think using TDR Nova really helped, along with learning to use Patcher in FL Studio to combine things in interesting ways. I have always liked this tune, and I do like the original 8 bit version more than the remakes. As always, thanks ahead of time for feedback:)

Artist: Everybody Man I loved playing A Short Hike, and Mark Sparling's music was PERFECT for that game. Somehow I started thinking of OOT's Title Theme while "See You At The Top" was playing, and it sounded so cool in my head that I had to arrange it. Title Theme's melody was simple and sparse enough for me to fit a lot of Short Hike inspired parts beneath it, and the (mostly) 7/8 time just seemed right to tie it all together. I loved the bit of distortion in the arpeggios from A Short Hike, and I definitely leaned into that in the mix :) The name "While I Can" comes from a bit of dialogue at the end of A Short Hike, and I thought it fit well with OOT's time mechanics. Hope you enjoy it! Games & Sources: This is a remix of the Title Theme from OOT, mashed up/orchestrated with "See You At The Top" from the game "A Short Hike."

It'll be my first MAG in 6 years, looking forward to it! :-)

The Depths are a very strange place in Tears Of The Kingdom. The vastness, the darkness and the strange flora feels like nothing before in the previous Zelda-title. The score of this area is more like a collection of experimental sounds and not music in the classic way. So I found it interesting to remix such a piece. My idea was to create an energetic breakbeat which interacts as a counterpart with the different moods. Most of the song consist of this ever changing beat, only at the end there are also some underlaying strings. Every sound or melody-bit in this remix is inspired by »The Depth« & »Dive To The Depths«. For me it was a very different remix style-wise and I tried hard not to fall into old habits with the composition. ----------------------------------------------------------------------------------------------------------------------------- 1-8-23: I messaged gaspode for a source breakdown, here is his reply. ~Chimpazilla Hi. I understand that it could be tricky to determine the exact percentage usage from the source-tunes because »The Depths« includes a lot of silence between the sound-hits and is more of an abstract soundscape. I tried to remix the style of the source »The Depths« using echoes, piano-hits, a few reverse-effects and silence between them. Although this silence is now filled with a breakbeat. To reference the original I interpreted the sounds from the originals but at the same time used samples that sound similar. For an easier check of the references listed below I uploaded the remix without the breakbeat. I hope this helps. https://drive.google.com/file/d/1RX7j0J6qpL0DZCWurK049GnAPOGssBC3/view?usp=sharing The following sounds might repeat in different positions of the source-tunes. So I only use one timestamp of the material to reference them. The Depths (3:27, which contains about 48 seconds of silence) Sound from 0:01 (deep bass) used at 0:28 0:35 1:22 2:18 2:32 2:45 Sound from 3:17 (hit on steel?) used at 0:41 0:55 1:19 1:31 1:44 1:48 1:57 Sound from 1:43 (more like a bell) used at 0:48 1:02 4-note sequence at 2:29 used at 1:35 Sound from 0:28 (piano chords and single piano hits) used at 1:09 1:16 1:27 1:50 Reverse from 0:59 inspired part at 1:17 Dive To The Depths (1:48, but in fact a 0:50 loop, played twice, only with a changed ending) Short melody from 0:00–0:02 (which is repeated through the whole song) in different pitches and instruments used at 1:29 (piano) 1:57 (piano) 2:18–2:30 (piano) 2:31–2:44 (piano) 2:59–03:11 (bell) 2:18–03:11 (strings/choir) Flute melody from 0:08-0:14 used at 1:44 Viola melody from 0:17 and 0:22 used at 2:46 and 2:52 Bassflute (?) at 0:39 inspired the tone sequence at 1:35 Hope this clears the things up a little bit. Bye, Gaspode (Peter) Games & Sources: Name of game(s) arranged: »The Legend Of Zelda – Tears Of The Kingdom« Name of individual song(s) arranged: »The Depths«, »Dive To The Depths« (Because there was no official release of the soundtrack, I took these names from the YouTube-videos.) https://www.youtube.com/watch?v=PGFL_TSwHjw The Depths https://www.youtube.com/watch?v=dIDNkU6Xy88 Dive To The Depths