Liontamer

That's pretty much the end of that discussion. If you can't do a song in a totally new style, it closes off a lot of possibilities that many fans will respect and enjoy.

Nutritious Justin Medford NutritiousMultimedia@gmail.com http://NutritiousMultimedia.googlepages.com 16520 Donkey Kong Country 2 Stronghold Showdown This song is part of the Donkey Kong 2 project (yeah, I'm on WAY too many projects... something like 7) As soon as the DKC2 project was announced, I worked quickly to try and get a WIP together to join up. There are some great mixers on the project, so it was a good opportunity. There were only a few remaining available tracks at the time, but I didn't know which to choose. Fishy recommended I give Stronghold Showdown a go. Admittedly, Bahamut and Taucer were a little wary about my initial WIP, but I was able to refine it a bit more and get on the project. At :22 seconds, the source tune is a very short piece to remix, so I tried to utilize as much as possible. For the intro, I was going for a kind of John Williams/Indiana Jones feeling, then followed by some variations on the main melody of the source. In the next section, I used a much more complex version of the repeating pattern that plays in the original to form a bass for the solo trumpet playing the main melody line. For the rest of the song, I tried to get some good contrasts between large/full passages and smaller, lighter sections; eventually leading into a very big ending. Hope you guys enjoy it. EDIT (5/16): Assuming you got my PM that I wanted to put this one on hold for a while to fix some issues. I reworked the section at :51 a lot to bring it more closely in line with the OST. Hopefully this makes the connection more clear. Justin ------------------------------------------------------------------------------ http://snesmusic.org/v2/download.php?spcNow=dkq - "Stronghold Showdown" (dkq-26.spc) Even with the revisions here, the arrangement feels too liberal. Obviously there are parts where the source connection is pretty overt, but there were other times where it went off the rails. The track was needs 263 seconds, so I needed more than 131.5 seconds of overt source usage for the arrangement pass: 32.5-:38, :39-:49, 1:20-1:28, 1:32.75-1:44, 1:48-2:00, 2:11.75-2:33, 2:37-2:53, 3:32.5-3:37.5, 3:57.5-4:06 = about 97.5 seconds That's all I could recognize overtly. There were areas like :00-:29 & 4:06-4:20 that seemed very loosely based on :15-:21 of the source, but sound too liberally interpreted. As far as the strings and mallet percussion at :51 & 3:15 being a more complex pattern of the strings at :00-:04 of the source, I isolated voices 6 & 8 of the SPC just to check the string patterns of the original, and the notes and patterns in this arrangement are too different despite a stylistic similarity. So that just knocks out a bunch of what's supposed to connect this to the source. You may have reworked it to sound more like the source, but it definitely doesn't to me. The track sounds great, and the arrangement sound very sophisticated, but in the effort to add more complexity and variation to the original, I think you've made some choices that make the majority of the track not tied to the source tune. I'm definitely open to more POVs on something I may have missed, but based on where I could actually make overt A-to-B connections, I've gotta go NO.

I checked it out, and Kris is cool with having this posted. All blessings to Adam Fudge, wherever you are. Hi Larry, Frankly I am flattered you even remember me. I kind of left the scene with a whisper when all my friends disappeared one by one (I still haven't heard anything from Mr. Alexander since that day although I keep in touch with Robert Guinn). Yes that is mine and for what is worth, it was the last song I produced some two years ago. I actually think some of the other songs from the dead mod project are better in quality, but I guess that is for you guys to decide. You have my permission to post it on OC ReMix if that is what you were looking for. Hell, you can review the entire "soundtrack" if you like although I think "Defection" fits the OC ReMix mission statement better than some of the other songs (i.e. it is a bit more of an rearrangement). God knows it is way less sloppy than the Halo remix I have on there (talk about a shitzophrenic song). -Kris (Krispy) Haha, of course I remember you, bro. Yeah, it's not too often that we get unsolicited submissions, especially regarding artists I know, so I went ahead and paneled it. We actually passed it, and I wanted to make sure you were OK with even having it posted, as we wouldn't do that without your explicit OK, so thanks for that. If you'd like to submit more from the PD: Source soundtrack, we'd definitely be down. When I have some time, I'll take a listen to everything and let you know if I think you should consider submitting more stuff, which would always be a good way to pimp the project. Hope you're doing well! - Larry

Heya, I have a new submission for you here. After completing the second part of the Cantata for Dancing, Derek and I decided we should take a break from the serious Final Fantasy 6 nonsense and do something different. Derek suggested Final Fantasy 8, so I quickly jotted down a Kaoru Wada-inspired arrangement of Blue Fields and Liberi Fatali with intent on using traditional Japanese instruments combined with orchestra. This was back before Christmas 2007. We worked on it on and off over the months perfecting the instrumentation, listening to soundtracks like Okami, Inuyasha, and Samurai 7 for inspiration. In the end there were two ideas: a gentle reworking of Blue Fields for small orchestra accompanied by Japanese instruments, and a fast-paced version of the theme punctuated by the well-known "Fithos" chant. In the first half the Blue Fields theme is first stated in its original form with some harmonic and contrapuntal modifications and then the strings take over to do some variations. After the choir comes in and the music reaches its peak, an ambiguous ending slowly fades out telling us that it's not over yet. We've been deceived! Suddenly things have taken a turn for the exciting as the orchestra takes us through another variation of the Blue Fields theme in a more heroic setting. Overall this piece represents both Derek's and my devotion to game music and we thank OC ReMix for giving everyone the opportunity to express similar kinds of devotion in the form of remixing/arranging game music. Nowhere else do you see the same level of fan involvement without blatant commercialism and exploitation, so doing this is entirely our pleasure. Derek Says: "Final Fantasy VIII is the most underrated game of the franchise. Lots of people ask me why I love the game so much and here's why: The storyline is very unique and full of twists and turns. The CG cutscenes were unbelievable for the time period. And last but not least the music that went along with the game is the most beautiful soundtrack of a Final Fantasy to date. And in tribute to this fantastic game and this beautiful soundtrack we needed to raise the bar and release something just as beautiful. Jeremy and I hope you enjoy this piece." Title: Devotion & Deception Game: Final Fantasy VIII Tracks: Blue Fields, Liberi Fatali Lyrics (approximately): Tempestas Excitate vos e somno, liberi mei Cunae sunt non Fithos Lusec Wecos Vinosec Submission Info: Name: Jeremy Robson e-mail: jeremy.robson@gmail.com website: jeremyrobson.com forum id: 5955 Name: Derek Oren e-mail: derako@charter.net website: http://www.soundclick.com/bands/pageartist.cfm?bandID=686739 forum id: 20212 Link: ---------------------------------------------------------------- http://tzone.org/~llin/psf/packs2/FF8_minipsf.rar - 103 "Blue Fields" Final Fantasy VIII Original Soundtrack - 101 "Liberi Fatali" Lots of great arrangement ideas here. The first 2 minutes put me off though. There were definitely some meaningful embellishments and new ideas, but the overall feel was too similar to the original "Blue Fields", with a lot of the part-writing being carried over wholesale. I also thought the samples weren't the bees knees. For example, better sounding articulations on these samples would have hooked this up, particularly some of the strings, but it wasn't happening. Stuff like the strings from 2:24-3:05 stuck out to me. As is, the textures also felt very thin despite the strength inherent in the writing. No meaningful transition at 3:16. A pregnant pause would have worked better; as is, the flow was abruptly broken. The overall texture of the second half was comparatively stronger. Had the sound quality been that cohesive the whole way, there wouldn't have been much of a dilemma. Things were a little thin-sounding still, but good overall. The strings, vox and brass all sounded more realistic. There were also some parts panned pretty hard right in the stereo field that could have used a bit more presence on the left side. Hate to sound like a hater, but the first half needs to be brought up to the level of the second half. The second half wasn't better simply because it was grandiose. The samples seemed like they were used to better effect. That's the short of it. I know zircon was pretty high on this, but I think it at least needs some touch-ups on the production side for the win. Right now, that isn't realizing its potential. Good luck with the rest of the vote, bros; don't hit me! NO (refine/resubmit)

Hi. It's been a while, but I finally found the time to touch up Asphyxiated Soul, so here's my resubmission . Original info's still valid; see http://www.ocremix.org/forums/showthread.php?t=16894 What's changed: -New guitar sound (still nasty, in a different kind of way) -New bass sound -Thicker drum sound -Thicker vocal sound in second verse -Thicker mastering -Those silly vocal samples in the intro are gone -Intro is more ominous sounding Kadmium ---------------------------------------------------------------- http://www.doom2.net/~doomdepot/music/doom%201%20&%202%20midis.zip - Doom: E1M8 (Sign of Evil) Due the to new effects on this, the machine guns drums sounded poor this time around, IMO; sounded like a loud water sprinkler going off. :'-( The wall of sound seemed to crowd out the chorus vocals from 2:18-2:29, but it's a stylistic choice that I can live with. Now, when the spoken word section talks about the best way to sever the head from the body, and the new effects affect the ability to understand what's being said, maybe that's not so bad. But honestly that could be tweaked a bit where the effects are still in place there, but the speech is a bit more easily identifiable. Could also be an EQing issue, as it seems like the spoken word stuff is kind of buzzing due to the low-end. I'd definitely appreciate other opinions there. Otherwise, awesome as hell, and great job on fixing up the issues that was holding this back. I think for the moment I'm gonna go conditional, because some quick touchups would get this sounding its best, but it's not a big deal if there's no consensus. Jesse, awesome stuff, and welcome aboard finally! You've definitely brought something new to the table here that'll be hard to top. YES (conditional)

Artist: Sweendrix Name: John Sweeney Email: Sweendrix@yahoo.com Website: http://www.youtube.com/user/Sweendrix Preferred User ID: Sweendrix **** I was unable to find the "create account" information on the login/create account page. Any information would be helpful. I have several remixes to video game soundtracks...including, but not limited to...Halo, The Legend of Zelda, Punch Out, and SMB for SNES. Halo Remix: Titled "Dawn of a New Age: 2nd Movement" (Original work which incorporates several ideas from the Original Halo Theme) Dawn of a New Age as written, recorded, arranged, and produced by sweendrix. (John Sweeney). All drum credits to DJ Fenn (Jeremy Fenn). --------------------------------------------------------------- HALO Original Soundtrack - (26) "Halo" Was that an AIM sound effect of a door closing at :45? Maybe my ears were playing tricks on me. The way the beats brought in at :37 are used here sucks though; they sound pasted in, they're looped too long, they not always properly synced up, and they don't really have any synergy with the rest of the music. Why they're even still there once you hit 1:33 was a mystery. Also, once things beefed up at 1:33, the mixing needed some work, as the melodic stuff until 2:32 was criminally quiet; so was the drumwork. 3:29-4:01 was probably the muddiest section here; a lot of the parts bled together, and some of the sounds got abrasive. The ending cut out abruptly at 4:33, so just watch little details like that. When you mentally eliminate those awkward beats though, I thought this was pretty good stuff so far, John. Great energy, great power. Axe that weak beatwork, and re-balance some of the more indistinct sections so all the parts shine, add some new beats if there's empty space, and you'd be in much better shape, IMO. Definitely hope you're willing to refine this one, as it has a lot of potential. Use the Works & ReMixing forums here for help if you need to. NO (resubmit)

* Auranova * Steve Nino * Auranova@Gmail.com * www.myspace.com/auran0va * 16327 * Megaman 3 * Spark Man's Theme * Additional information about game including composer, system, etc. (if it has not yet been added to the site) * Link to the original soundtrack (if it is not one of the sound archives already available on the site) * I decided to try something new with this. Since I usually do stuff that's more upbeat, EG Trance...metal. I was in the mood for something slower and more ambient/relaxing sounding, this was also my first attempt at adding some sort of solo, a piece of original work by me that actually fit into the song. here is the link to the file! you can download it there as well as listen to it right off the web --------------------------------------------------------------- http://www.zophar.net/download_file/9115 - Track 8 ("Sparkman Stage") Good build for the intro, albeit lengthy; given the length of the track, this had the leeway to do that. Melody arrived at :54, fairly straightforward, albeit personalized reasonably well to start. 1:49 moved over into the chorus. For something relatively minimalist like this, the new supporting writing was good, but didn't feel like it was compensating for such a straightforward shot with the melodic interpretation. Once you listen longer, you realize the melodic interpretation was limited. Some of the writing of the glassy lead from 2:44-3:11 sounded like it was clashing with the rest of the instrumentation. Didn't sound very melodious to me. The bass-focused writing from 3:11-3:39 also felt meandering. We'll see how the others feel, and I hate to say it myself, but when the Spark Man theme wasn't in play, the writing wasn't clicking, IMO. I wish the core groove evolved more, as you basically heard the same patterns the whole way through. 3:39 cut-and-paste the previous iteration of the source, but with additional elements around it. Repetitive on one hand, but at least going for some dynamic contrast compared to the beginning. The ending cut out abruptly at 5:04. The overall mood and atmosphere were good. But for a 5-minute long mix, you've gotta do more creatively, Steve, which is definitely possible while still retaining the subtle, chill feel you were going for. New rhythmic ideas or alterations/variations to the melody would have been great; same with the beatwork and bassline writing. It doesn't need to overhaul things, so don't go overboard if you revisit this. Besides possibly trying some ideas like that, reworking some of the original writing that sounded off would smooth this out a bit. Good base so far. NO (resubmit)

Such a unique sub, I had to panel it - LT Hi, My name is Gregg O'Donnell, I am one of the members of a website called www.thegameheroes.com and I would like to submit a song provided that It's okay that I have already posted it on several websites as well. My user ID is 25257. This is an unorthodox version of 600AD, it is done entirely with samples of beer bottles, and the backing percussion from the game. It's a little bit hard to explain without plugging the link for the video Anyways I hope you enjoy the submission, and send me an e-mail if you run into any problems, I labeled it as Beer Bottle Orchestra, but you can rename it to Shawz, or Gregg O'Donnell. Gregg --------------------------------------------------------------- http://snesmusic.org/v2/download.php?spcNow=ct - "Wind Scene" (ct-109.spc) It's always OK if a mix has made the rounds on other sites; no harm there. Gotta do my job first, and list the reasons why this won't make it: Only 1:32-long; no interpretation or development of the theme Uses the SPC, with some of the voices turned off, to provide the background instrumentation; too much original audio sampling Loads of clicks/pops from piecing the recordings together The clicks/pops could have been eliminated with some judicious editing after the fact, but oh well. Nonetheless, I definitely enjoyed the mix, which is only enhanced by the video. Very fun track nonetheless, Gregg. Clean it up and send it over to OverLooked ReMiX for the win if you haven't already! NO

You better be representing, guys!

Title: Of Legends & Heroes Remixer Name: VikingGuitar Real Name: Erik Peabody Email: vikingguitar@hotmail.com Website: http://www.myspace.com/vikingguitarmetal UserID: 25242 Games Arranged: Final Fantasy I, Final Fantasy IV, Chrono Trigger (Link to whichever you'd like. Probably has more FFIV than anything else.) Songs Arranged: Final Fantasy I - Battle, Final Fantasy IV - Fight 1 & Red Wings, Chrono Trigger - Frog's Theme Recording Setup: BC Rich 'Thousand Lashes' Mockingbird Guitar EMG 81/85 Pickups Tradition B-105 5-String Bass Shure SM58 Vocal Mic Line 6 Toneport UX2 Gearbox Amp Modelling and Effects software ezDrummer w/ Drumkit from Hell expansion Reaper DAW iZotope Ozone 3 Mastering Software This is a mix that's gone through a few different incarnations. I recently started playing guitar again after a two year hiatus and found that I sucked at it. I'm planning on recording a full, original metal album, but need to get back in shape first. I've always loved video games and covered songs before, and thought that doing some remixes would be a good way to force myself to play things outside of my comfort zone. There is no exceptional guitar work in this song. I think that it cheapens a lot of remixes when the remixer puts some out of place guitar solo that wasn't in the original song. However, I think that it's solid, it rocks, and, most importantly, it pays homage to the games that inspired it. FF1, FF4, and CT were some of my favorite games of all time, and I'm all pumped about them again since FF4 just came out on the DS and CT is coming out on the DS soon. All good. There are harmonies added here and there, and the transitions are mine, but it tends to stay true to the source material. The first version of this was shorter and recorded with an amp and a mic instead of direct through the Line 6 Toneport. The whole thing sounded tinny and hissy and basically crappy. I got the new hardware and re-recorded it and like it a lot better. There are some vocals at about 3:36 or so. This was originally supposed to be pure singing without lyrics. My girlfriend (who also loves CT) and I sing Frog's Theme in the car all the time, and it was her idea to put some absurd, not-quite drunken singing in the middle. When we finished recording it, she made an offhand comment about how we should have written lyrics, and spontaneously sung the passage that you hear in the song. I was dumbfounded by how hilarious and awesome it was. I made her record it over what we'd already done. It's not supposed to be in key, it's not supposed to sound good. It's supposed to make you laugh, which I do every time I hear it. Anyway, I'd be stoked if this made it onto the site, but I understand that's up to you. Feel free to email me with any questions. Thanks for all the work you do to keep ocremix running. -VikingGuitar PS: I think the MP3 on Soundclick might be over 6mb. The attached file should fit okay. ---------------------------------------------------------------- http://www.zophar.net/download_file/8938 - Track 16 http://snesmusic.org/v2/download.php?spcNow=ff4 - "Fight 1" (ff4-08.spc) & "Red Wings" (ff4-02.spc) http://snesmusic.org/v2/download.php?spcNow=ct - "Frog's Theme" (ct-119.spc) The production was on the blistering side. Would have loved to have heard this pulled back just a little to eliminate the abrasive sizzle without sacrificing the power. Balls out stuff though with loads of expansive spices thanks to a lot of new part-writing to supplement the melodies. Some transitions could have been better, but chained together smoothly and weren't abrupt. Overall, the medley was working nicely. Lyrics at 3:36 were so ridiculous. Hahahahahaha! Hey, the recordings felt a bit dry and the vocals could have been more polished, but hell, they're half-decent, the harmonization was working it well for what it was, and it couldn't break this one. I know this wasn't meant to sound polished and was going for humor, but it still could have been epic fail. The fact that it was LOLz instead was a real accomplishment. Erik doing that retard harmonization in the background was awesome too. If I wasn't having any doubts that Laura's vocals weren't clicking, that little detail erased them. I was having a weak day today, and that part made me forget everything negative. You had me laughing hard, guys; nice work. I'd honestly still like to see the volume or EQ tweaked a little for the win, but we'll see if anyone else agrees. Nonetheless homies, now you're playin' with POWAR! YES (conditional)

"Ignition Keys" - Acoustic piano medley of 2 songs from F-Zero. Link: ReMixer name: trople Real name: Paul Email address: paulrahme@yahoo.com Website: http://www.youtube.com/user/trople UserID: 25231 Name of game arranged: F-Zero Name of individual song/s arranged: Mute City, Big Blue Own comments: After sitting at the piano & playing around with a lounge version of Mute City, I realised that it sounded really good when played at full speed too. Since Big Blue was also uptempo, segwaying into that worked almost effortlessly. I had originally included a slow section based on Port Town before the Mute City reprise, but it didn't quite fit in with the energy of the others. This was recorded to midi, wrong notes cleaned up where necessary, then performed back using a Yamaha P60 digital piano. A live performance can be viewed on my youtube page. --------------------------------------------------------------- http://snesmusic.org/v2/download.php?spcNow=fz - "Mute City" (fz-09.spc) & "Big Blue" (fz-02.spc) The overall volume was too low, and the hiss was too loud. The lo-fi-ness of the soundfield was a negative; it just made this less engaging of a listen. A more overall interpretive arrangement would have made that less of an issue. I actually thought the segues to "Big Blue" at 2:02 and back to "Mute City" at 3:07 were a little weak, IMO. They weren't jarring transitions, but didn't feel cohesive and strongly connected/developed to me. There's definitely personalization in the arrangement though, with more interpretive substance displayed in the Big Blue section. There was some in the Mute City section, but not as much once it picked up at 1:04 and mimicked the original. I might be in the minority, but there could have been even more unique ideas and embellishments to make this stand out more as a unique piano arrangement of the two themes. As is, there were some good moments, and some good new writing, but this still felt relatively conservative overall and didn't stand out to me as a unique enough rendition. I enjoy the track in a vacuum, as I love both themes, but I've gotta push for more uniqueness in the arrangement ideas, Paul, sorry man. Good luck with the rest of the vote though, this is still a good track, and I hope we hear more from you no matter which way this goes. NO (resubmit)

Johan was able to hook it up with a new version that cut down the hiss substantially and even smoothed out that awkward pause, so we're good to go on this one now!

Only the elite better try this one: http://news.deviantart.com/article/58015/

Hey guys, Martin Sargent (The Screen Savers, Unscrewed with Martin Sargent) just released the latest episode of Internet Superstar, episode #60, interviewing djpretzel. Martin & djp discussed: OC ReMix's promotion of game music as an art form; Whether game music stacks up to other forms of music in entertainment; The many styles of ReMixes available at OCR; Game composers submitting music to the site; and OC ReMixers entering the industry as professional composers and sound designers. The show's only about 10 minutes long and a great intro to OCR for anyone who likes video game music, so pass it along. Thanks! http://revision3.com/internetsuperstar/2008-09-18ocremix/ -Larry ----------------------------------------------------------------- Thanks to Martin for his ReMix selections and captions within the episode. Here's a breakdown of what was played, as well as the folks djpretzel mentioned within the episode: ReMixes: BenCousins - The Legend of Zelda: Link's Awakening 'Animal Village Greenwich Village' Olarin - Final Fantasy VI 'Searching the Woods' Neskvartetten - The Legend of Zelda 'Link Goes to New Orleans' Kabukibear - Final Fantasy XI Online 'While San d'Oria Sleeps' djpretzel - Bubble Bobble 'Hillbilly Rodeo' djpretzel - Doom II: Hell on Earth 'Red Waltz' Jeremy Soule - Final Fantasy VI 'Squaresoft Variation' The Fat Man, Dave Govett, Joe McDermott, K. Weston Phelan - Wing Commander 'Wing Theme Surf' Harmony - Secret of Mana 'Dragon Song' Industry pimps: Yuzo Koshiro - The Revenge of Shinobi Shael Riley, Capcom & OverClocked ReMix - Super Street Fighter II Turbo HD Remix Beatdrop - Dance Dance Revolution SuperNOVA 2 Steffan Andrews - FaceBreaker bustatunez - Star Wars: The Force Unleashed

Hands down, that one's the winner. I liked OA's too. He should use it for himself.

Worth checking how extensive the sampling is - LT Remixer name: Eshmasesh Real name: Chris Manning Email address: dj_feoz@hotmail.com Website: None User ID: 25199 Name of game: ICO Names of Individual Songs: Continue, Castle in the Mist, Coffin This is my first submission to OCremix! The main thing which inspired this song was listening to "Save Me" by SGX. After looking up the source tunes ("Continue" struck a chord with me), I found another part of the ICO soundtrack, Castle in the Mist, and thought "Wow, this guitar would be fun to sample!" So I sampled it, and after combining it with a lot of other alterior elements and a somewhat liberal interpretation of "Continue", I came up with this track.

Nah, I'm not compelled to argue. If you feel the writeup was misleading, fair enough on those quotes, though to me the other quotes from both play up that this actually was not meant to be taken as a genre convention. The main thing I've been stressing is that the track not being trance and not being intended as trance doesn't inherently make it weak. It can't be a called a "subpar style adaptation" when that explicitly wasn't claimed to be the purpose. And to say "He seems to have brought the people of OCR exactly what they are looking for" implies we chose this at the expense of other valid stuff, which we haven't.

Thems fighting words, Wu! Back 'em up!

REMIXER NAME: Anticitizen E-MAIL ADDRESS: kliedel@verizon.net USER ID: 23671 NAME OF GAME ARRANGED: Final Fantasy X NAME OF INDIVIDUAL SONG ARRANGED: “Besaid” COMMENTS: This is my first remix, so I decided to tackle a tune that, in my opinion, shines with subtlety. The simple, carefree “Besaid” invited me in to the world of Spira and never let go, beating through my head for the rest of the game. Because of that musical addiction, I left the main melody intact and decided to add flourishes around it – mainly in some friendly guitar and pulsing synths. The tune bobs happily along until the midpoint, whereby it breaks down into a kind of stutter that (IMO) fits it well. Take a listen and let me know what you think. -------------------------------------------------------------- http://www.tzone.org/~llin/psf/packs2/FFX_psf2.rar - 118 "Besaid Island" The structure here is somewhat of an acquired taste, but once you see how it's laid out, the arrangement is pretty cool. Cool base with some interesting sound choices. The overall levels were too low, IMO, and the source tune tended to get downplayed too much because it was mixed so low (e.g. the melody at 1:04). The guitar distortion in the back at 1:40 didn't sound good at all. Good stuff with the glitchyness at 2:16 and the strings at 2:24 though. The subtle morphing and evolving of the track was clicking, IMO. I'd need to see this rebalanced to get this sounding its best, but, otherwise, I'm a believer. YES (conditional)

Updated the first post. Whether or not I post an FTPed link in the actual thread, the sub will always be on the FTP, so check the folder to make sure.

I'll nag 'em and see what's up. What's the hold up on more votes?

Where was the Eternal Sonata mention? That was like passing on a layup. Good work again, Dan. The Lady and I enjoyed!

Read up on our Terms of Use here: http://www.ocremix.org/info/Content_Policy It's nothing scary; it's basically saying to properly credit the ReMixes like you plan to do. Thanks for the pimp, Ion!

Contact Info Your ReMixer name: Abadoss Your real name: Kenneth Edward Keyn Your email address: Abadoss@yahoo.com Your website: http://www.abadoss.net Your userid (number, not name) on our forums: 1901 ReMix Info Name of game(s) ReMixed: Equinox Name of individual song(s) ReMixed: Game Over / Atlenta Additional information: When Larry approached me about the Dirge for the Follin, I didn't really know anything about Tim Follin. I wasn't sure what I would ReMix, but I couldn't turn down an invitation from Larry. So, I downloaded the OSTs for as many as I could find and began looking through the various tracks. Two pieces stuck out immediately for me: "Game Over" and "Atlenta" from Equinox. The soundtrack from Equinox is rather unusual in that each track has so many soundscapes packed inside. I found a primarily flute-y/oboe-based theme in "Atlenta" that I liked enough to build the core of my ReMix off of. "Game Over" was short enough that it could be used in whole at the beginning and the end of the piece. It should be mentioned that the way that "Game Over" is represented at the beginning of the piece was actually accidental at first. Finale has a plugin - which comes with the program - that allows a composer to change the rhythm of a piece by intervals. I had initially written out the music in mostly whole and half notes, felt it was a little clunky in notation, and decided to cut it in half. What I wasn't expecting was that, while the rhythm was cut in half, the entrances remained in their old locations. This created a rather interesting effect that I built upon and used as a transition into the Atlenta section. Also, the spelling for "Atlenta" proved to be particularly problematic, as in the OST it's listed as "Atlena". Being rather dislexic, I had a tendancy to type it as "Altena". Up until this final version, I continued to use "Altena's End" as the title - which I still think sounds better. This piece is arranged for a woodwind quintet, harp, and strings. It was composed using Finale 2007 and Garritan Personal Orchestra.