Liontamer   Judges ⚖️

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

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

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

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

Really cool to be introduced to this theme. For me, it has a lot of PlayStation-era Mega Man X vibes; awesome choice, Nathan, and I'm interested to hear how you approached this. Opens up very conservatively, so we'll see how this breaks off into its own thing. Whoa, the lead at :22 is so piercing and abrasive, so much louder than anything else. The beats behind it sound thin, and there's a chippy-style backing part (not the countermelody) that seems to be filling a kind of bass part, but just sounds like distortion and white noise. The countermelody also sounds slightly off-key from :37-1:06. The fadeout ending after repeating stuff at 2:41 was also anticlimactic. Beyond eliminating the clipping, distortion, and piercing high-end freqs, the textures still feel empty despite the busyness; something's missing here. For contrast, the original has parts that are constantly padding this, whether it's warm backing synth lines in the intro & chorus or the delays on the lead during the verses; see if you can come up with your own ideas to help properly fill in the soundscape. Structurally, this is super conservative. The instrumentation's changed, though it's not texturally cohesive. Even if the mixing of these parts was ideal, this is too conservative of a cover for us to approve. Per what we're looking for from our Submissions Standards, more needs to be done for this version to distinctly stand apart from the original song. We do have plenty of melodically conservative arrangements on OCR that still are more interpretive (see: https://ocremix.org/remix/OCR04414 and all of the tracks linked in that writeup), so also consider listening to those for other ideas on how you can sufficiently personalize your style in this arrangement even more. NO

Was getting a lot of piercing frequencies with the beats here starting at :36, so I'd love to hear that addressed with another render, if possible. Not sure what was layered into to the beats at :36 compared to before, but it's tough to take. From 1:29-1:47, the themes were unpleasantly mudding together without a clear lead or direction, which needs to be fixed up. AFAIK, it was that woodwind-esque line (not the delayed "Mute City" chorus) that seemed to cause the interference and clutter; happy to be corrected by another J. In terms of the clutter, the theme interplay could probably be reduced some by selectively lowering the volume on some of the lines, pulling back on Top Gear sometimes and F-Zero at others. The return of the beats with the piercing high frequencies at 2:05 as well; my ears were getting battered here. 2:59 until the end referenced :49-:55 of "Mute City", but the transition into it was abrupt, and the section sounded off-key, especially that final trailing chord. I probably wouldn't have changed that chord at 3:09. What a weird way to finish it, and done in a way that undercut the rest of the arrangement. (The fadeout also didn't fully go to 0, but stuff like that can always be fixed.) I like the theme interplay in principle, and you've shown you're talented at it with your two previously approved submissions. The themes are creatively arranged, and it was cool hearing the interpretive treatment of both themes combined in a way that generally worked, especially with F-Zero in play the entire time. That said, the mixing on this one isn't clicking during the busiest sections, the piercing frequencies that were baked into the beats also made things needlessly difficult to listen to, and the awkward switch into the janky ending killed the finish. I'm hoping a musician J can identify some straightforward ways to tweak the mixing. This is a solid base, Richard, but it does need another mixing pass and a retooled ending. NO (resubmit)

He meant 11494, and in that's case, that's his ID # in the database (rather than the forums); regardless, I know who CJ is. Opens up with a cool rhythmic change, though whatever came in at :06 seemed like a goofy sound. The soundscape got darker at :20 but felt like an abrupt change despite the transition sound; some padding in the opening section would have helped the change at :20 not feel awkward. The textures at :20 feel relatively empty, so at :28 & then :34 as things were building up more, I was waiting for a fuller soundcape, and that was capped off at :49; it was good to hear things gradually more filled out. Back to the opening pattern at 1:10, albeit more filled in. Things repeated, though with more additive writing supporting things the second time around; while the differences aren't negligible, it does sound. Some sort of briefly grating SFX thrown in there at 1:45 that didn't add anything positive. :49's section was repeated wholesale at 1:52 until the finish, then some SFX ended it 2:13 without properly fading to 0. The production/mixing wasn't ideal in some spots, as prophetik noted, but it's also just fine for our bar, and a fully fleshed out arrangement with mixing like this shouldn't have any problem passing, IMO. The instrumentation and beats did have thinner sections, but the overall energy was strong and the instruments had a great deal of power. I don't inherently mind repetition, and the treatment of the theme was interpretive, but I understand where prophetik was coming from with the amount of repetition making this short track (only 2:17-long) feel underdeveloped. It was a disappointing conclusion, not just because of the abrupt cutoff (which can easily be fixed) but the final section at 1:52 being a total retread after prior sections where repeating ideas had been supplemented with new additional writing, only to have the last section not have any variations. Provided you still have the source files, let's see what other ideas and/or variation might be able to be added, Chris. Because your arrangement was very interpretive to begin with, I would just need more meaningful variations (writing or instrumental) from 1:10 until the end, and particularly from 1:52-2:13, and/or adding in more ideas to extend the track. Other judges may need even more development added here, so keep that in mind; no matter what, this is well in the right direction and I really hope we have this posted in some form. Please consider a resubmission on this; I really enjoy where you've taken it so far, and would love to hear some of the unrealized potential actually realized. NO (resubmit)

Opens up pretty thin, and with some fuzz, for the retro sound. Oh boy, the drums at :36 sound so rigidly timed and metronome-like, and then the bass guitar line at :42 also sounds very robotic. The drums should have never been mixed that loudly over the melody and countermelody; the balance just doesn't make sense. Unfortunately, this all sounds so mechanical, which works more with chiptune sounds, but not sampled instruments that are meant to be organic. Some good original writing at 1:10 in the front, albeit thin. Melody returns more upfront at 1:24. Oof, some off-key chord attempt at 1:36. Texture got super empty at 1:50, without adequate padding. In pricinple, I liked the interpretiveness of the writing from 2:20-2:48. The chiptune sounds were the most expressive aspect of the track, which is odd to say. In any case, too rigidly sequenced, too thin, too unexpressive. prophetik also mentioned some of the wholesale cut-and-paste repetition, e.g. 3:31; some further variations in the writing would be a positive but just as a matter of principle, since this isn't anywhere near a state of passing. Your next goals should be properly padding the soundscape and exploring how you can make your instrumentation sound more humanized and expressive. NO

The submission link: 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 can’t help myself with these two-song combos, it’s kind of a habit at this point, a fun angle to guide remixing for now. Both games are very nostalgic for me and in my minds eye I pictured a Mute City 200 years before F-Zero, where the cars we're much more used to seeing today were racing around. It was fun to spend a little time riffing on guitar samples too for this one.

The mixing's too muddy for my personal tastes, but I'll live, and I'd rather that than the track being too dry. The source is only 1:42-long before it loops, so it goes by quickly at a faster speed. I had to listen to the source tune awhile at 2X and 2.5X speed to better pick up on the patterns and cadence, otherwise it just sounds too abstract, but I agree with MW that the source tune seems to be all over this. What I don't agree with is saying that the source barely qualifies as music and thus the arrangement can't either. Is there a Standards violation somehow? Are we implying that this source tune somehow doesn't qualify to be arranged or simply can't be arranged in a way that would pass OCR? It's a strange thing to say that, even though the source tune seems held fast here, effectively given an expanded and transformative sound palette. But feelings and vibes don't account for me "validating" the arrangement, so I'll attempt to do some A-to-B mapping of the source references to the arrangement, but this isn't melodically transformative, so I'm surprised that no one's attempted a breakdown. These NOs feel like they're coming more from a place of the source tune being abstract and harder to grok than Rebecca going too liberal with the treatment. Not closing this yet, but I shall return with a vote... ? EDIT (4/12/24): I forgot to formally come back to this after Rebecca broke this down for us. Straightforward, I TOLD j00! YES

Two* Many Trevors Though why stop there? https://ocremix.org/artist/15564/freezetag https://ocremix.org/artist/4307/chako https://ocremix.org/artist/8363/eon-blue https://ocremix.org/artist/18593/facemelting-solos Or "Too Many Trevs" and you can further open it up! https://ocremix.org/artist/15682/trev-wignall https://ocremix.org/artist/4728/jredd https://ocremix.org/artist/4589/destiny

Opens up pretty grimy. Distorted beats at :15 aren't my thing at all and are teetering on dealbreaker, at least initially, but let's see how prevalent they are. Yes, I get the "Dxrk" reference, and the beats stink there too. The arrangement's melodically conservative but well personalized. The distorted beats finally stopped at 1:14, replaced by something else from 1:24-1:29; ah booooooooooo, they're back at 1:47, why? Too dry and just creating an ugly, crackly, ill-fitting quality disparity because they're so loud and upfront, both louder and drier than anything else. Nice job altering the source's rhythms from 1:31-1:46; combined the with dropoff of the beats, a good way to create dynamic contrast. If the source files disappeared, I'd squeak this by. The arrangement's solid, with an expanded sound palette, it's just the honorific production choice of rolling with this dry, distorted beat being so loud that's debateable for me. If others aren't wowed by that choice just because it's purposeful, I could see some conditional YESes as a result. Just because I think it sounds awful doesn't mean I can't past that singular element though. Solid theme treatment, Trevors! YES

Hello folks, I would like to submit my remix "Medusa Tower" to you. Remixer Name: Marillion Asturia Real Name: Peter Gotthardt Email: Submission Information: Origin: The origin track is the track "Tower" from the game Phantasy Star, released in 1988 on the Sega Master System. Composed by Tokuhiko Uwabo, 1987, https://www.youtube.com/watch?v=p7MwSs7DpQQ The name of my remix is "Medusa Tower". I made this on my own. The remix came about because I am a big fan of this game and had now familiarised myself well enough with DAW Rytmik to give it a try. I always imagined how I would arrange this track. This is now my humble attempt. I Hope you will like it, and i am looking forward to read from you Best regards Peter (Marillion) Gotthardt

The sequencing's too rigid, and the drum writing's too basic, tepid, and plodding despite the intended variations, so that prevents this otherwise personalized arrangement approach from lifting off the ground. The synth's lead first used at :10 is alright, but IMO it's too thin as is to serve as the lead, especially if the surrounding instrumentation doesn't adequately fill up the soundfield. The sampled piano first used at :41 sounds too blocky. 1:06's texture during the organ section was too thin and empty; something else should have been going on earlier than around 1:18 to fill things out, and you still could have switched to that backing line at 1:18. Eino Keskitalo's got a lot of strong examples, Tony, of arrangements with deliberate pacing that nonetheless has energy and flow rather than feeling stilted. Fleshing out the textures more and humanizing and/or adding verve to the sequencing are what this needed the most. NO

I've never heard this before, so I'm listening to this version fresh. Opening string sustains sound thin and exposed, but not awful. Flute sounds so weird with these faux-breath noises from :11-:18; I don't think I've ever heard that effect before, but it's awkward because that's not how the breath noises should sound. Sequenced electric guitar at :37 sounds super rigid and mechanical, with 0 body or realism to it; it's a difficult sample to use effectively. I've heard it pulled off by jnWake before, but it's tough and puts things as a disadvantage that has to be climbed out of. As soon as the drums are in there at :18, they sound static and locked to grid despite all the activity going on, and the core pattern is boring, creating a plodding pace. Same issue at 1:16; it doesn't matter how humanized everything else attempts to be, because the core beats make this feel super basic and static. Surprised it didn't explicitly come up in prophetik's vote, though he did say the drum writing was bog-standard. The ending section at 2:42 was the most humanized section there and that's saying something; the intro and outro (notably sans percussion) don't have the same rigid feeling that most of the rest of the presentation does. Yeah, there's not enough flow or cohesion to the sequencing yet, so until that changes, it would be a very tough sell. Once you get those timing fundamentals in place, your stuff will hang together better. NO

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

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

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

The lead sound's unfortunately not pleasing, and it sounds like the structure's verbatim with the original, with some denser sounds. There was one spot of genuinely creative additive writing after a while, the gliding synth at 1:23, which had a nice sound to it. By 1:40, I was ready for something else to be going on, and then I heard some other quiet string sustains briefly show up until 1:58. Those were good parts, but there's still not much going on dynamically with the arrangement. 2:20 finally drops the main beat pattern, but it's only until 2:29. OK, another beat dropoff at 2:38, but boy does this sound atonal due to these beats, all the way until 3:25. Kind of felt like Adon's theme in Street Fighter 1, which is not a compliment, I'm afraid. There's notable effort given to varying up the textures, but too much off-key writing. When the main beats are in play, they sound decent and have some impact, but the track also plateaus at that level and never gets more intense; combined with the very static timing (which I realize is a carryover from the source), this plods over time, with the textural changes not being enough to keep it engaging. Good initial effort, Boris. It's a ways from being something we could pass, but there's growth potential for you, so keep at it. NO

ReMixer name: BRTD2005 Real name: Boris Email address: User ID: 38804 Name of game arranged: Aero The Acro-Bat 1 (SEGA Genesis) Name of individual song arranged: Circus Act 5 (Synthwave Remix) Additional info: composed by Fox Productions, a.k.a. Rick Fox Link to the original soundtrack: https://www.youtube.com/watch?v=OMtbCu4M4UY

Original decision Above is latest judges decision. Attached is my latest attempt at remixing the song Searching for Friends from FF6. To the judges' panel, I attempted to make this version of Lookin' for Buddies more cohesive...one of the judges correctly figured out that I was changing instrumentation based on new people joining your party. I'm still going for that idea. Instead of using just synths, I used a DirectWave flute instrument that made myself after taking 15 minutes to record samples of myself when I had a short bit of quiet time. I also used a guitar vst, and a percussive rock organ instrument that I applied some effects to. I did still use two synths for melody for a short period in the tune that I hope I varied the parameters on enough. Original linked, remix attached https://youtu.be/XEO7RCD7jVg?si=5ScZmPzpj69OLjBr Thanks for your consideration! Respectfully, Eric, aka Audiomancer

No source breakdown needed, since the sources are in play almost all the time. "Lifelight" is only used during some of the vocal choruses. (Also, I have to note here that I HATED the soft way the percussion was mixed in the original "Lifelight" from the Ultimate OST; man, what happened there??) Anyway, pretty well mixed. In the opening section, the vinyl static quietly added a little something to help fill out a relatively thin texture, which was a nice understated touch used here and there as the track went on. The Brawl main theme was creatively used throughout. Nice lyrics as well. I thought Niko's vocals were too loud compared to everything else, but nothing dealbreaking there; loved when they first got layered at 2:54; awesome stuff there. Understated but effective dynamics, with some low-key areas like 3:18-4:00 to help break things up, which prevented anything from getting monotonous or plodding. Strings at 3:40 lacked realism but were at least quietly mixed enough that they didn't stick out like a sore thumb, and they were used effectively from 4:55-on in the final section thanks to the delay effects. Creative stuff that earned a strong place for the 20th anniversary DoD; nice work, y'all! YES

Main ReMixer name: TheManPF (User ID: 35318) Additional artists: Zach Chapman; Shinobisyntax; Niko Vargas Submission: Games: Super Smash Bros. Brawl; Super Smash Bros. Ultimate Name of arrangement: With a Little Help From My Friends Songs arranged: Main Theme (https://youtu.be/zeKE0NHUtUw); Lifelight (https://youtu.be/EhgDibw7vB4) Original composers: Nobuo Uematsu; Hideki Sakamoto Systems: Nintendo Wii; Nintendo Switch Years: 2008; 2018 Comments: Not really a Beatles reference, this song was arranged for the 20th Anniversary of Dwelling of Duels, as my way to commemorate the support and friendship from everyone in the community of VGM and, more importantly, DoD, in a similar way to "wily theme" but in a much more direct, intimate way. I've always wanted to cover the main theme from Brawl, it's one of my favorite vgm tracks of all time, but I never had any idea how to tackle it, it's such a rich and powerful song already that I felt I never would be able to properly do it justice, so I didn't really have plans for it for a long time. However, as the 20th Anniversary of Dwelling of Duels was getting closer and closer, I tried to stop and think what I would like to do to celebrate such an occasion. When I was trying to think of what to do earlier this year, since the beginning I was already set on doing something Hip-Hop/R&B-ish. I was super inspired by "House Party", by DakotaCityRag, from the August 2022 free month duel: https://dodarchive.dwellingofduels.net/22-08-Free/09-DakotaCityRag%2C%20Kyaira%20Ware%2C%20Brooklyn%20the%20Kid%2C%20Chocobao%2C%20Rik%20Lloyd%2C%20Hyper%20Light%20Drummer-Animal%20Crossing%20City%20Folk-House%20Party-DoD.mp3 I was also listening to the first ending of Spy x Family "Comedy" an awful lot: https://youtu.be/K1SAtJ8QIcc I was like "damn, I want to do something like this", the anniversary was a good opportunity for it, I wasn't really thinking of "competing" for the anniversary, I didn't want to stress myself over doing something super impressive that would get me the top spot, but I wanted to do something I felt was meaningful. I was looking at a list of games I played and trying to decide which one of them could fit an R&B sound, and also which one would fit thematically for the anniversary, and landed in Smash, and thought "wtf, of course, it's such an obvious idea", I'm actually surprised nobody else thought of it, it represents the coming together of all of these people from different walks of life in an epic duel to see who's the best, the Brawl theme also speaks a lot of friendship and meeting your heroes and deadly enemies (or rivals), it also has always been a celebration of gaming as a whole, which fits our vgm community so well, especially since in the anniversary we were expecting a lot of old names coming back, the phrase "everyone is here" kept repeating in my head over and over, it was a no-brainer, also it was finally a good opportunity to try to cover Brawl's main theme like I always wanted. For this track I wanted to specifically bring people that I have personally invited to DoD at some point, obviously, Zach had to be there, but the other two people were Shinobisyntax (also known as Sketch the Conductor), who I did a Subnautica track with for DoD 2 years ago, and Niko Vargas, who sang for "My Dear", a Nier cover that I did in that same month. Both of these people fit the R&B/Hip-Hop style very well, and Sketch is particularly REALLY REALLY GOOD at this style, he's extremely gifted at putting pen to paper and writing extremely catchy and meaningful lyrics, it was something that I really wanted to show everyone, I just gave him the concept "I want to do a song that celebrates friendship, collaboration, friends being there for you in tough times, and our love for music", and he just did his thing, all the rap verses were written by him. Most of the sound of the track was inspired by the two tracks I mentioned earlier, "House Party" and "Comedy", I wanted something lofi-ish but with a lot of groove, live bass and clean guitars, live keyboards (I played them myself, I'm not a keyboardist, but this was relatively simple and I wanted it to feel live), and have the vocalists go wild, and everyone knocked it out of the park. I sent Sketch all the stems I could and he did the final mix, including a lot of the sfx and sound design that really gives it that delicious sound (including the cinematic toms you hear throughout), he goes more in-depth about his process in this document: https://docs.google.com/document/d/1qVIXr2MhgysBGB9wUZ1GHLL6TGLNxnq1E0QS3H5cGZk/edit?usp=sharing At the 20th Anniversary, this track ended up ranking FOURTH out of FIFTY-NINE TRACKS, even beating pud (!!!!!) by one spot, looking at it now it's super wild to me that this ended up ranking so high, I never went in with that intention, the last few months have been extremely tough for me, I have been EXTREMELY depressed, losing most of my ability to feel pleasure from things that I liked doing, just sitting and recording this has been super hard, and I feel things like the guitar solo could've been worked a lot better, but I did put a lot of heart into it, I wanted to make a tribute to all my friends in the community, I wanted to show everyone in the anniversary how much this community means to me and how much the help of these people has made me able to push through, even after doing something like Hip-Hop which I never tried before (and I almost never hear in DoD ever!), and I'm super happy that that love came through ? Full credits: Zach Chapman - Bass Shinobisyntax - Mix, lyrics and vocals (rap verses) Niko Vargas - Vocals (hook/chorus) TheManPF - Arrangement, lyrics (minus rap verses) sequencing, guitars, keyboards, vocals (intro, pre-chorus and bridge) Lyrics: [Intro] Now my friends are with me And as we face each other in battle We shine ever brighter [Verse 1] I ain't got no time to be wastin with snakes, Pass the controller, I see em dashin while riding the wave, We off the hook, but stay connected like links in a chain, I'mma just blast em away, like I been chargin my a, ay, You bringin heat, well I'm ready with Terry, Grab a machete, we sending sheep in wolf's clothing to cemeteries, Meet up with palutena and tell her you met me, Should've retired already, like I was battling reggie, (Ready? GO!) We always got sumn left, You doublin your team and it'd lead to a (sudden death) My final fantasy is I'm set to rock, My team roster longer than the sword on sephiroth, Cause whenever I'm struggling, my homies stay up with me, I get to the stage when knocked down my team's my recovery, Ain't no L's in our names, We are the master and craze, We meeting up* then it's (GAME), We are the mains [Pre-Chorus 1] Listen my friend (Struggling, my homies stay up with me) Listen my friend (To the stage when knocked down my team's my recovery) [Chorus 1] Hear the sounds that light our passions aflame Bring to life the memories of precious days Linked together by the feelings we share Reaching farther with a little help from my friends [Verse 2] While Battling all of my demons, They got my back when I need it, I couldn't rap like a Phoenix, If i was back on the bleachers, I send this straight to the ether, To all homies I needed, Im really hoping you see this, You made and gave me a reason, Through trials and tribulations, With miles I walk the pavement, Im finally out the matrix, Were final like destination, When I'm stuck in a pit of despair, Searching for answers, I always find myself hoping they're there [Pre-Chorus 2] Listen my friend (Finally out the matrix, we're final like destination) Listen my friend (I always find myself hoping you're there) [Chorus 2] Hear the sounds that light our passions aflame Bring to life the memories of precious days Linked together by the feelings we share Soaring higher with a little help from my friends [Bridge] Friends by my side They are all here with me Some of them heroes to me Some of them once my enemies [Instrumental break] [Pre-Chorus 3] Thank you my friend (All of us find our destinies thank you for all the memories) Thank you my friend (I'm not alone cause everyone's here, everyone's here) [Chorus 3] Hear the sounds that light our passions aflame Bring to life the memories of precious days Linked together by the feelings we share Shining brighter with the help of my dearest friends Shining brighter with the help of my dearest friends

Opened up with some fakey piano that nonetheless had good body to it. Around :30, I thought things were overdue to move away from the build, especially because texturally, nothing new was happening. Consider some light SFX or quiet additive writing earlier than :59. Beats arrive at :59, but since this is 6:30-long, we've still got a lot of runway, thus the slow build. Admittedly, this build's boring for me, and the exposed piano sample always playing each measure exactly the same as the previous times also gets boring over time. Some warbling added to the picture at 1:59, and the fakey piano's exactly the same, the "Prelude" theme is exactly the same. Not sure where the rumbling was coming from during 2:38-2:52, maybe due to the timing of something being slightly off; hopefully a musician judge can co-sign hearing something off there and identify a possible cause. Some cheap, low-quality claps are added in at 2:59; they just sound lossy and completely not in the same soundscape, and it's a boring, plodding, vanilla, basic pattern. Poorly integrated; I would have used different claps. 3:59 finally brings in the countermelody from FF4 on organ keyboard, though it pumps (and is mixed) in a way that doesn't let it cut through as much as those beats/kicks. I knew 5:29 would just keep repeating the theme ad nauseum based on the prior build, but I was hoping for a turn of some sort and it never came. 5:59 drops everything out except the countermelody for a winddown finish, and the track unceremoniously cuts off with no ending at 6:29. There's expansiveness to the sound, Keeb, but ultimately not enough substantial writing or textural variation to justify this length. Getting a warmer, more varied & humanized piano sound and different claps would be nice too, but that's small potatoes compared to the bigger overarching issue of the writing lacking development. NO

I'm classifying this as FF4 due to the secondary melody finally referenced at 3:59; that's only found in the "Prelude" from FF4-on, but I included the NES version for reference. -LT Remixer Name: Keebmouse Game: Final Fantasy Arrangement: Prelude to a Dream Remix of: Prelude - Final Fantasy Private Soundcloud Link