Liontamer

CREDITS: colorado weeks (Colorado Weeks): main arrangement, production, drum programming, synths, backing vocals CivlaCivla (Alvic Plan): lead vocals, vocal arrangement, backing vocals bjkmenu: lead electric guitar, rhythm guitars, additional synths This was our entry for Dwelling of Duels' Free Month in July 2024. "The Natural Playboy" is such an iconic track from a real hidden gem of a game. After working with The Vodou Queen on a New Jack Swing track for GSM1, I knew I wanted to dip my toes in the genre again. This arrangement has been on the to-do list for a while, but it didn't get done until recently because I need a proverbial gun to my head to finish my damn tracks (a.k.a: a firm deadline.) I was never great at fighting games as a kid, and Bust a Groove was no exception. Luckily, I had a much more skilled kuya (CivlaCivla) that I could watch play. Because of his skill, I was able to experience all of the great music as well as the colorful cast of characters. Considering how much of an influence he was in my musical journey and my love of video games, it really meant a lot that I was able get Civla to record vocals for "Playboy Philosophy." To add to the emotional heft, we recorded the vocals in one session in our childhood bedroom. I'd also be remiss if I didn't mention bjkmenu's influence in making this track happen. I was in a creative funk for a good couple of months until bjkmenu posted a couple of versions of "The Natural Playboy" in ThaSauce, including this extremely funky cover by The Consouls. As a novice guitar player, I have significant blind spots in guitar arrangement due to only being limited to what I am able to play. bjkmenu was truly a font of knowledge in this regard, even providing feedback and suggestions for the arrangement, the performance, and the mix. Again, a huge thanks to CivlaCivla and bjkmenu for lending their talents to this track, and to The Vodou Queen for all of her New Jack Swing recommendations! LYRICS: [VERSE 1] All the people everywhere Everybody wants to hear My playboy philosophy 'Cause I look like a star when I'm smoking my cigar They wanna be just like me It's true, my gold ring is beautiful And everyone wants one Everyone wants to have my style [VERSE 2] In a club or on the streets Everybody that I meet Wants to learn and play my game And they watch the way I move From my head to my shoes And all the girls know my name [PRE-CHORUS] I know in their hearts they wish and dream That they could be like me But if they want to know the truth It's true [CHORUS] That I'm the natural playboy of town And I am blowing every mind 'Cause I'm one of a kind And I'm the coolest dancer around The lights are shining down on me So everyone can see The natural playboy [VERSE 3] All the people everywhere Everybody wants to hear my Playboy philosophy 'Cause I look like a star when I'm smoking my cigar They wanna be just like me [PRE-CHORUS] I know in their hearts they wish and they dream That they could be like me (Could be like me) But if they want to know the truth It's true [CHORUS] That I'm the natural playboy of town And I'm blowing every mind 'Cause I'm one of a kind I'm the coolest dancer around The lights are shining down on me So everyone can see The natural playboy Games & Sources The source tune is "The Natural Playboy" from Bust a Groove. According to the Bust a Groove wiki, the music was composed by Tomoki Ishizuka and was written and performed by Kaleb James.

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The shift into "Lake Hylia" was a nice bit of contrast, forgoing the percussion for about half a minute and focusing more on the strings and brass, and I also enjoyed the transition into "Zora's Domain". The shift to "Lanayru Sand Sea" felt clunkier, but I'll live. For me, there's nothing wrong with the structure; while it's all meant to be mysterious and mystical, there's meaningful effort into the transitions as well as varying up the energy of the textures, even if the instrumentation is pretty fixed, because you have different parts dropping in and out. I dig it! YES

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Would need a new name if approved -LT Artist Name: Why_ It didn't let me upload the file so I got you guys a google drive link to the file. I hope you guys like this this will be my first submission here this is one of my personal favorite mixes I've made. Link to my YouTube video for this song in case you guys need it:

Artist Name: NarnianWarrior Hey guys! This is my first submission, and like all my EDM works, it was produced in Garageband iOS. Despite its reputation, it's a surprisingly capable little piece of software, especially considering that it comes free with every iPad! The only issue I had with it for this piece was the overly fake strings, but over time I came to appreciate the rather N64-esque sound that they have, which lends the piece a unique and nostalgic quality. I've always adored Super Mario Galaxy and its soundtrack, and I wanted to do them justice with this arrangement. I particularly wanted to amp up the outer-spacey feel of the source, truly transporting my audience to the Comet Observatory and giving them the feeling of traveling through space with Rosalina and her star children. It is still a lullaby at its core, but it also has the energy, awe, and wonder that I associate with space travel and the night sky. It does also attempt to capture the sadness of Rosalina's story (hence the use of "Sad Girl"), but the overall message is one of hope. We may see upsetting change in our lives and see the ones we love desert us or die, but you can't chart your course based on the stars behind you. You can only use them to tell if your ship is where it's supposed to be. Gosh, now I'm really hoping I didn't wax philosophical only to drop a mediocre track, heh. P.S. The title comes from a beautiful but depressing bluegrass song by Nickel Creek called "The Lighthouse's Tale," which is another piece of media that, like Super Mario Galaxy, I'm quite nostalgic for. I also subtly referenced its chorus (which contains the line the title was taken from) in the section at 1:17. You can listen to it here: https://youtu.be/Jigp5IkagOY?si=eo79MChefkgdWYVv Games & Sources Both tracks courtesy of Mahito Yokota. Super Mario Galaxy - Luma Sad Girl - Super Mario Galaxy

Artist Name: tibonev This arrangement was created for the Dwelling of Duels Jun 2024 contest, theme was franchises fusion, where you had to make a medley/mash-up of songs from two different franchises. Since i've been playing A LOT of MSFS2020 lately, i really wanted to cover it, and adding Pilotwings was a no-brainer, given the theme relation between the two franchises, i've also been meaning to do a track without drums or percussion for a long time, but i've always postponed, well, not this time. The arrangement is slow, chill and borderline ambient, using lots of moving synths pads for the foundation while the rythymic information comes from the muted guitars on the back, the melodies are present but not always the main focal point of the mix, i've been listening to a lot of Boards of Canada these days, specially during work hours, and i wanted to do a track with a similar approach, but not exactly in their style, which is why i named my track "above the borders", it alludes to their name, kinda of, and alludes to flight which is the theme of the remix. Source Breakdown: 00:00 - 00:35 - original part based on msfs2020 chords 00:35 - 00:52 - pilotwing chords and arp riff 00:52 - 01:01 - original transition 01:01 - 01:36 - msfs2020 melody part A 01:36 - 01:45 - original transition based on the part A chords. 01:45 - 02:11 - pilotwings melody 02:11 - 02:46 - msfs2020 melody part B 02:46 - 03:22 - msfs2020 chords / with original radar ping over it. 03:22 - 03:35 - original part based on msfs2020 chords 03:35 - 03:58 - long fade out of last ringing chord. Total time: 238 seconds Source time: aprox. 153 seconds (64% aprox). Games & Sources Game 1: Microsoft Flight Simulator 2020 (PC / Xbox Series X/S) Source Track: Color 1 (Menu Music) Youtube Link: Game 2: Pilotwings (SNES) Source Track: Bad Results / Bad Points Youtube Link:

After starting things very conservatively, nice curveball at 1:00 with the dropoff and then slamming things with a full soundscape, then the interpretiveness of the arrangement really picked up from that point on. The lead from 1:25-1:49 was too loud and was also pushing down everything else, so the track was feeling imbalanced, but it wasn't for too long. Nice change of the melodic instrumentation at 1:50 to keep things fresh, then 2:29 used similar techniques as 1:00, only more intense. Nice Street of Rage "HEY!" at 2:42, that was random. :-) I do wish this had something going on in terms of stereo/panning, but the adaptation to chiptune's effective enough that it overcomes that. JSA makes all of these chiptunes a pleasure to listen to. YES

:43.75-1:23, 1:25-1:29.5, 1:38.5-1:39.75, 1:41.5-1:42.5, 1:48.5-1:50.5, 2:02.75-2:08, 2:19.25-2:46.5, 2:49.5-2:54.5, 2:57.75-3:05.5, 3:20.75-3:31 = 103.5 seconds or 50.61% source usage I'm sure there's stuff I overlooked, but some of the claimed usage felt liberal and/or fleeting, so I wanted to stopwatch it myself. Track was 3:24.5-long (ignoring non-music talking, :07.5-:14.5, before the intro), so I needed to ID the source tunes in play for at least 102.25 seconds to consider the source tunes as dominant. Alright, Emu gave an arrangement breakdown, and I compared it against what I could recognize; I'm good. The musicianship was solid, I just needed to understand the arrangement's construction. A lil' cerebral of an approach, but certainly jazzy and sophisticated. :-) YES

I was basically out on parental leave when the previous version was subbed, so I've actually never heard that version; let's see what's going on. Intro seems unrelated to the source, but then hits the melody at :31 with some lovely, spacious faux-vocals, then Jorito joining in on backup at :47. The Synthesizer V vocals are impeccable; if you'd claimed it was a live singer, I would have readily agreed. Nice synth lead at 1:03, though the beat was feeling somewhat flat, and I felt the soundscape was muddy, enough to merit commenting on it. A reprise of the fauxcals at 1:42 with different textures underneath them. Slight tweak to the lead of the chorus section at 2:13, then some cool vocals at 2:20 adding some color to this section. Nice isolated vocals at 2:51; Jorito's choral stuff behind them sounded great as well, functioning like a pad. Good addition of the guitar at 3:23 to accent the vocal melody; at this point, the overall feel was getting repetitive (nothing threatening a NO vote, but still...), so it was good to hear even more playing around with the textures behind the leads at 3:56's chorus section. Not sure what would have held this first version back. /listens - Oh OK, I get it. Yeah, more stilted sequencing and thinner textures compared to the current version, and the Realivox Blue vocals were brutal (terrible articulations, very stiff timing), but I can see why Sir_NutS was saying this had lots of potential back then. No worries about that now for Jorrith, this one's now flying high. Great treatment of a cool, overlooked theme. :-) YES

Cool personalized cover with more graceful vocals from EK and more gritty rock from Erika. Fun textural changes throughout, plus the lil' cameos of other themes were a nice, subtle nod to the original game. The performances all felt very cohesive. The mixing was a little cramped for my tastes during the final big crescendo section, but it was nothing really dinging the track. Love it, this is strong! YES

Just to be clear, when you say "i am still a conditional but tbh this is good enough for me to go as-is if it doesn't get fixed.", that's not a conditional vote, that's a borderline YES. :-P I didn't make out any of the brief "Ninja Step" elements mentioned in the comments, so if any of the Js wouldn't mind helping a brother out... (9/18 EDIT: No worries, I hear it now.) Cool sounds for the intro. The lead from :23-:48's no good, a very stilted sound, but the overall sound design's interesting even if I don't like that one part. Can't go wrong using a lot of sounds similar to the original music courtesy of FMDrive, yet this is far from sounding like a cut-and-paste or simple sound upgrade of the original source tune. Melody arrives at 1:12. At this point, the lead sound design's actually feeling flat and unexpressive in some ways until the change in leads at 2:05. It's nothing that's putting me off from voting in favor of this so far, but there's some flat or underwhelming parts. A little comping style variations on the melody from 2:37-2:59, which was good. The soundscape's somewhat cramped, but I can make out the part-writing OK, so no big deal. That higher synth at 3:22-3:30 & 3:41-3:52 is another example of a flat-sounding part. Piano line at 3:30 was cool, and the orch stabs added some cheesy but OK flavor. Love the shimmering outro sound and how it stylistically bookended with the intro. I do understand how MW went NO in terms of feeling like things didn't dynamically vary enough, because these heavy beats are pretty pervasive and the track's generally pretty texturally full, so it can come off like it's just hammering the listener. Nonetheless, this has enough textural changes to get by, carried by interpretive arrangement/presentation and reasonably solid sound design (despite some "mixed bag" feelings). Looking forward to hearing more from you, Adrian; nice job letting this simmer. :-) YES

To me, the flow of this initially felt jarring because I know these distinctive themes so well. :-D Interesting tradeoffs throughout; this'll be interesting to time out to figure out what primary game this gets assigned. On the mixing side, this felt cramped and hot, particularly from 3:28-on (lead at 3:51-4:01 & 4:04-4:11 sounded pretty shrill); not enough to reject it on, but enough to notice and remark on. Quibbles aside, a very cool premise, well structured and executed! :-) YES EDIT (9/12): DKC more dominant - :00-:08, 1:00-1:26, 1:41-2:15, 3:29-3:52, 4:12-4:33 = 112 seconds CT more dominant - :08-1:00, 1:26-1:41, 2:15-3:25. 4:04-4:12 = 145 seconds Some of the second half blending felt more even, but the point still stands, this'll be considered a CT mix for the database. :-)

The track was 5:06 long, so I needed to identify the source tune in play for at least 153 seconds for the source tune to be considered dominant. :43.25-:48.5, :50.5-:55.5, :57.75-1:02.5, 1:05.5-1:10.5, 1:12.75-2:00, 2:27.5-4:12, 4:32.5-4:33.5, 4:39.5-4:56 = 189.25 seconds or 61.84% overt source usage I wasn't majorly concerned about source usage, but did want to time it out since the intro sounded original and the melody took a little bit to come in; wouldn't want to be groove biased, of course. :-) Long build-up, but the main melody finally came in around :44. 3:26 was an opportunity to do something markedly different with the melodic or textural presentation, so I get where prophetik's coming from in terms of wanting further ideas. To me, everything's dialed in and meaningfully evolving within this groove. A little building blocky, one could argue, but I'm enjoying the groove and didn't have a big problem with the lead (which had a bit of a piercing sound that's cutting through but wasn't a huge deal for me). Loving it; what a cool tribute to Jenz and of a game that doesn't get nearly enough arrangement love, which was an extra treat. Wonderful to hear how well things are going, James, and I do hope you stay on a healthy path so that you make the most out of married life (congrats!) and get to do that potential musical collab, I'm selfish there. :-) YES

Let's see how we did with this different type of collab scenario. Bass at :51 was produced in a way where it's doesn't sound focused/forward enough, if that makes sense, it's more of an indistinct low drone, but it's still somewhat recognizable from the theme. The melodic variations sound good, and I liked playing with the timing of it, dragging it just a bit to alter its feeling. I liked the original countermelodic line added in at 1:12 as well, that was a very nice touch. Nice line handling the source's countermelody at 1:45, that was very cool sound design, a fluttery feeling to it. So well personalized, and nice dynamic contrast at 2:45 that was less beat-driven and more atmospheric until 3:04. Some nice swagger until 3:26, then a little mellower while still beefing up the textures a touch. Loads of ear candy throughout, while the arrangement personalization is way up there, this is how you do it. :-) YES

Quoted for truth. Please forgive me for sounding glib, Mel; it'll sound like I hated this, when I mean to just cut to the heart of what's holding it back since the other Js already weighed in. It's got good arrangement ideas in a vacuum, but every major component sounds stilted and inhuman, which is a non-starter. I recall hearing this during Office Hours, and the electric guitar in particular, which was the worst offender, doesn't feel markedly stronger than what I previously heard. You don't need live performers to get this passed, but you do have to humanize this set of instruments or find better samples. Even just for making strong mockups, it would be worth it to see how much you can hone this. NO

RESUB 5 RESUB 4 RESUB 3 RESUB 2 RESUB 1 Original Decision Artist Name: Audiomancer I know I'm kind of beating a dead horse with this one, but I'm wanting to try to get something posted in a style that I actually like. I would love to do something with my live flute playing, but quiet time to record is nearly impossible. Ibe tried sampling myself though, I have some decent samples now (I understand now why sample libs can be expensive), but have yet to put together something complete with it. I have one remix halfway done with it, perhaps I'll try to finish that one next. I know I'm rambling, I'm done now:) Games & Sources Dragon Warrior 4, chapter 4 music. Walkabout theme mostly, with a little bit of the battle theme. There's a thread in the post your game remixes forum about this version, I tried to incorporate much of the advice there, as well as slight changes to the beat writing and drum sounds from one of the judges in the last decision. Also pulled back the number of synth leads in the main theme from the last submission. I absolutely loved this music when playing the game when I was young.... probably can tell from the number of attempts;) I'm always split between adding humanization to electronic instruments or not.....I've been told both ways, so I don't know. This is on the grid, if I do something with more live sounding stuff, I'll humanize that. As always, thanks ahead of time! Theme links below. :#424242; font-size:12px; text-align:left"> :#424242; font-size:12px; text-align:left">

Artist Name: Worlder I first tried to submit this via email in 2022, but had trouble with sending a working file to Emunator, and then got side tracked as all heck. Now that I have a place I can easily host files, I am trying again! On this up-tempo electronic track there is definitely some breakbeat influence, but production started because I was having a lot of fun with the Team Rocket Theme on the guitar. Always found this to be the craziest track from the original games, it sounds so panicked. I had ideas for all sections of the song so I wanted to be sure to play off every primary melody from the original chiptune at some point in my remix. Largely, the idea of the arrangement is to build intensity on the main riff until it becomes really chaotic, but for dynamics sake it calms down in the middle of the song before ramping up again. The synth instrument that comes in at 3:10 was really a pleasing find at the time I was putting this together. I find something in its timbre that is the same as the noise that plays when you take poison damage while walking. I found that incredibly appropriate. I originally wanted to medley this with the Viridian Forest theme, because they sound similar but I decided that I had enough ideas to fill up all the time with just the Team Rocket Hideout theme, and to add more would just be messy. All digital instruments except the guitars, played by me on an Ibanez RG7421. Games & Sources Team Rocket Hideout Theme from Pokemon Red/Blue

Artist Name: ꓘirby Hi! This is my first time submitting a work to OCRemix, though I've been listening to remixes since 2008 - high time I try participating in such a stellar community! This arrangement is my own take on nostalgic VG music through the lens of one of my favorite genres of music: hip-hop turntablism. This song is a mashup heavily inspired by (and referencing) the iconic (and oft sampled) "Stompin at the Savoy" by Benny Goodman, later re-envisioned by Kid Koala in his seminal "All My Friends Are DJ's" album. In short, this particular song is a woven hodgepodge homage of dino-sounds to the spirit of DJ turntablists using Yoshi's theme as the connecting thread. With this song, I wanted to try to answer the hotly debated question: what if DJ Qbert played Smash and mained Yoshi? My style and approach to sampling has been greatly influenced by Steinski (and his "What Does It All Mean?" retrospective album), Fdel, BadBoe, and Cut Chemist, but my love for the greater domain of sampling in video game music comes directly from the great Hideki Naganuma and the Jet Set Radio franchise. All turntable scratching was done by myself using my Serato DDJ REV1. Hope you enjoy! Thank you for your consideration, and I look forward to any and all feedback you have :) -Kirby Games & Sources In true turntablism fashion, this song is an arrangement of multiple sources: Primary Samples (and sound effects): - "Yoshi's Song" from Super Smash Bros. 64 - "Stompin At The Savoy" by Benny Goodman Additional SFX & Voice Clips: - Jurassic Park; Step Brothers; The Matrix Inspiration: - "Stompin' at Le Savoy" by Kid Koala