Liontamer

Oh shoot, what do we have here, some breakbeats? Alright, let's see where this goes. I like getting Super Mario 64 title theme vibes from this energy. Lots of silly SFX and voice samples in here to prove this isn't taking itself too seriously. I felt like there could have been some more overt contrast moments or changes with the breakbeats, but this goes for more subtle textural/instrumentation changes with the breakbeats at the foundation, so that's fine with me. 2:22 had a (slightly overdue) change in the textures and style, referencing the arrangement's opening sans breakbeats, for a cool close. Fadeout came about 3 notes too quickly, but we'll live. I dig it; very creative and interpretive approach, Jeanine! Definitely don't make this your only sub; keep the hits coming! YES

Dunno why I chuckled to myself, but I did on hearing this old-timey production for the intro; definitely loads of personality to start. Sustained strings brought in at :30 were arguably too bright & upfront, which needlessly exposed the samples, but we press on. Faux geetar at :46 with beats underneath that I'm afraid are going to plod, so we'll see where it goes. IMO, the beats are too loud compared to the guitar. I liked the doubling of the melody at 1:06, nice touch. It's a subtle thing too, but I liked how the strings dropped out at 1:27, which cleared up/opened up the soundscape some and created a nice dynamic change that might otherwise go unnoticed. Beats changed up at 1:46, so happy to be wrong about the beat-writing getting plodding. IMO, the beats are too loud, and it's making me focus on those and less on the arrangement. Gliding synth at 1:48's way too loud or at least too piercing. Bwomp-chicka guitar there sounds great though. Ooooooooh, that glassy, ghostly line running underneath the melody from 2:18-2:29 for that harmonization, wow, that's was a nice touch; definitely made me rewind and literally go "Oooooh, yo, wait, what was that? Lemme hear that again!" Tasteful Bowser laugh SFX before some lengthy geetar soloing from 2:29-3:13 brought some nice fire to the piece, then went more into the ghostly atmosphere with a straighter rendition of the source. I liked the wind down at 3:51, although the final fade at 4:12 then came way too abruptly. I wouldn't have had the instrumentation actually stop when you could have had 2-3 more seconds and just continued relaxing the volume down to 0. I'd say this is a strong arrangement with some mixing flaws that don't hold it back. Would love to hear another production pass as this, provided my feedback didn't sound like bullshit, but this is all sorts of good and clearly over our bar. Nice source tune choice and a great arrangement concept that would fit well for Halloween as well. Duane, welcome back! It's good to have you rep your Sonic Skillz once again! YES

Thanks a lot for answering the Mario callout, Robert! Nothing but smiles whenever I listen to the original song. I'm flashing back to being 6 and playing this. Short runtime, so I hope this does what it needs to do. Theme arrives at :18. Texturally, I'm wanting something more to happen, but what's here is cool. The melodic arrangement is pretty straightforward, but IMO the instrumental expansion still gets it done. Very, very intriguing percussion from :40-:50; it was short, so I would have loved to have heard more in that vein. 1:19 switched over into some original writing that had a good Mario 2-esque vibe, but I was waiting for something else to tie back to the source tune and never got it. I hate to be a stickler, but in terms of using the source tune theme throughout the arrangement, this does it for less than half of the track, so the VGM arrangement isn't dominant in the track (per our Submissions Standards). What's here is 60 seconds of Mario theme in a 136-second long arrangement, so 44.11% of the piece references VGM (and nearly 56% doesn't). If you can add in some more references to the Overworld theme (or other themes) during some of those wholly original sections, this would be good to go, IMO. The arrangement ideas, musicianship, and production are definitely on point, and your programmed drum writing has improved over the years (literally just listened to your Zelda 3 Fairy Fountain mix). We'll see how the others feel, but if this doesn't make it as is, I hope you'd consider a revised version in a way that wouldn't compromise your vision yet still have the majority of the track be arranging the VGM (even with just 8-9 seconds more, if it came to that). Your Fossil Falls collab with AVGN was fun, and even if it's a not a Mario sub, the Great Fairy's Fountain mix is strong as well. You definitely have a place here as well, even if it's not this specific sub. NO (resubmit)

Thanks a lot for submitting this. Piano definitely sounds very rigid with the timing. OK, further orchestration comes in at :18 and it's all very mechanical timing. From :30-:55, I'd argue the supporting piano writing shouldn't be the loudest stuff. All of the string articulations were extremely mechanical, with artificial-sounding note changes and no decays (example of an in-your-face offender: strings from 2:05-2:08) . The way the textures constantly changed was definitely a huge positive in terms of showcasing how you want the track to shift and evolve throughout, so I'd say your general arrangement approach is good. However, the production side doesn't realize the arrangement's potential. The timing and articulations of everything lack decent humanization, and some parts are too loud while others are too soft (e.g. strings from 1:43-2:08) which pulls the listener's focus away from your melodic treatment. Lots of sequencing & production TLC needed to get this into a passable state re: our standards, so this won't be the one that gets there. That said, your arrangement was already at a solid enough level, so the potential is clearly there and I hope you keep at it with your music. If this is an older piece, would love to hear some newer ones, but whether or not that's the case, I'd recommend using our Workshop forums and Discord channel to solicit more feedback for your work to continue your growth. Keep at it, Daniel! NO

The file's a bit wonky with time tracking if you shift around, so my mentioned timestamps could be wrong, I'm not sure. Opens a bit thin, but definitely like the rhythmic changes. Shift to the piano at :38 and the timing still sounds stilted aside from the lead (which is piercing, though not enough to tank this). The timing is stilted, but the instrumentation has tons of character, so it pulls it off. Super fakey synth guitar at 1:44, which has a tone that doesn't work, but I did like the original countermelody thrown in (the 4-note piano line first at 1:36) before the main Athletic theme came back at 1:55. Yeah, lots of clever bits of interpretation, even if the sequencing could be livelier. Ending at 2:41 was too sudden; ending with a trailing note from the crystalline piano would have been so much better, but I'll live. Then again, you did have that note hang from 2:21-2:27 in the background and it sounded like it was quietly going off-key, so maybe I oughta be careful with that request. I'd say I have some reservations/critiques/flaws, Keenan, but the positives meaningfully outweigh the negatives. The textures, mixing, and timing could be improved, but none of them are broken, and the arrangement and instrumentation have all sorts of creative and positive highlights. Let'sa go! YES

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The source tune has such a slow tempo, so speeding it up 2x helped me understand the melody more easily. I'm thankful for the source usage breakdown, though once you get to :42, the actual melodic arrangement is super straightforward and clear, so I'm not sure what would throw anyone off. [Looks closer...] Oh wow, TBR bounced out an "explainer" track, that's handy, though I feel bad he felt compelled to show us that, EMU, when it's not a liberal arrangement. Man, the acoustic guitar work in here was gorgeous and clicked so well with the electric guitar and airy line. A little blip in the timing at 2:21, but it shakes off quickly. The 3:50-4:43 section was too crowded to me, and the different components weren't sounding out clearly; it doesn't make passing the track debateable, but I think it could have been mixed in a way to not have the texture sound so indistinct. Beautiful, lush source tune choice, and given an energetic, grungy transformation by thebitterroost. Awesome concept with killer studio chops execution! YES

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Opens with original writing over the top of source fragments with the melody then kicking in at :16. The bowed strings at :33 were carelessly exposed with the decays; doesn't sound as bad when they're in the background, but when they're the only thing to listen to like that, it sounds poor, and feels like the attention to detail isn't there. Same exposure with the brass from 2:17-2:26. The live performers are nice, and despite the usual criticisms of some sequenced parts feeling like a quality disparity, the overall instrumentation was Rebecca's usual delicate palette with ornate touches here, there, and everywhere for a relaxing new age feel. Great personalized variations of the source theme throughout. Since an audio file wasn't provided, we'd need to get one provided this is approved. Even in this YouTube video format, the arrangement's a clear pass for me. YES

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF5 Song Title: Heart’s Lullaby Songs Remixed: Forest of Moore Here’s a link: This is my cover of the forest theme from Final Fantasy 5 "Legend of a Deep Forest” aka “As I Feel, You Feel” aka “Forest of Moore”, originally composed by Nobuo Uematsu. It has a lot of names. Incidentally, I called this arrangement “Heart’s Lullaby”! This remix was done for the Pixel Mixers album, “To a New Dawn”. You can get the entire album here: https://open.spotify.com/album/57HHwA... I recommend listening to the whole thing! There are so many talented musicians on board, and it’s a treat! The oboe, glockenspiel, flute and piccolo parts were performed by some acquaintances of mine! Here are links to their channels: Oboe: PhoenixDownRPG https://www.youtube.com/c/PhoenixDownRPG Glockenspiel: Rahul Vanamali https://www.youtube.com/c/RahulVanamali Flute and Piccolo: Gamer of the Winds https://www.youtube.com/c/GameroftheWinds

I thought I posted here, but I've kept track of the votes where I felt I was dead wrong (IIRC, it's 4), and this was one of them, which taught me an important lesson about appreciating dynamics within a narrower dynamic range. This was lo-fi before lo-fi was cool. Great stuff!

Nice SFX opening. Nicely personalized sound upgrade opening here; it's such a short source tune, so I'm hoping we hear something substantive in the treatment. Ooh, nice switch into a clubby sound at :35, with good balance and a thumping beat behind it. And a switch into another iteration of the theme at :51 without the beats and a totally different sound palette, very cool textural and intensity change until 1:15. Back to the club beats at 1:15 in a higher key, then some (very fake) piano as lead at 1:31. The sample doesn't sound great, but it's brief there, and produced in a way where I'm not drawn to the lack of realism. 1:51 started dropping things out and circling back with the thunder SFX as the finish. IMO, the arrangement approach is 100% fine; it's melodically conservative and instrumentally expansive/varied -- similar to https://ocremix.org/community/topic/51491 -- which is allowed. This is only 2:18 long, so it's important to not be too repetitive or underdeveloped with such a limited time to work with (and such a repetitive source tune). The source tune is just the melody ad nauseum, so Onirik did a nice job varying up the presentation of the melody with different leads and textures, along with various SFX inclusions, and tweaking some rhythms, to keep things fresh. The ending's doesn't fully go to 0, but we can fix that. A short and sweet example of getting solid variations out of a limited source, Karim! Good luck with the rest of the vote! YES

hello, I'm French and don't speak English very well, this is my fourth submission, I hope my request is correct. Thanks Link to my submission : Re Mixer : Onirik Dreamer real name : Karim Ajroud email : website : https://onirikdreamer.com Link of vidéoclip : user id : 38210 Name of game arranged : Castlevania (NES) Name of original track : Poison mind (composed by Kinuyo Yamashita & Satoe Terashima) Name of my track : Simon's madness Additional information about game : 1986 (NES) Link to the original soundtrack : https://www.youtube.com/watch?v=hb2VQmWQ-J8 Your own comments about the mix : I wanted to make a more energetic and electronic version of this theme while keeping the general atmosphere of the original track.

Opens up with a bumpin' club beat. The voice samples don't add much, but don't hurt anything; I did like the SFX though. Mixing-wise, I wish there was more sharpness, and that there was better balance with the parts, though it's a stylistic choice to make the beats and saws so prominent. Writing-wise, I do wish there were more dynamics; since it's a short track, once the track first ramps up at :13, you basically have an aggressive & full sound the rest of the way, though there were parts dropping in and out to vary up the textures. 1:08 did another rendition of the theme with some grace notes thrown in, followed by another iteration at 1:34 with an original countermelody. The track ends very unceremoniously with an abrupt fadeout, when it could have had a longer trail and felt like an actual resolution. Though the approach can appear to be just a bread-and-butter dance/trance rendition, the source tune does have more textural depth, there were subtleties there to vary up the textures and add some other interpretive writing & ornamentation. Those positives may be more apparent by bouncing around the track in segments moreso than a straight listen through, because the overall energy is loud throughout. With the piece being so brief though, this is close, but I did feel that the ending really should be on point; hopefully the source files aren't kaput. Consider some futher mixing tweaks from section to section to make the segments feel more different besides these gradual changes, though that's more of a nice to have. The others may need more convincing, though I do ask that they not dismiss the subtle yet substantive aspects of arrangement besides the genre adaptation. For me, I just need a developed ending with more of a resolution; doesn't really matter if it's an extended fadeout, or writing something else to cap it, but this weird cutoff doesn't do it! NO (resubmit)

Your ReMixer name: Pixel Pirates Your real name: Tobaunta Torkelsson & Fredrik Vinterstjärna Your email address: Your website: pixelpirates.nu Your userid: 37469 Name of game(s) arranged: Super Mario World Name of arrangement: Super Pixel World Name of individual song(s) arranged: Overworld Your own comments about the mix, for example the inspiration behind it, how it was made, etc: As if the original song from SMW did not make you happy enough we tried to make it even happier and more up-beat as always.

Did a quick source usage check just to be sure for myself, but it's way way over. Love the source tune choice, and the arrangement choices here, where you get elements of rock, jazz, and eerie weirdness for the finish. Issues aside from the tone/realism of some instruments, the overall result's cohesive and varied enough. I didn't feel the piece plodded, especially comparing it to the source tune and understanding the intended mood; there's obviously enough going on with the instrumentation to be clear how the piece isn't repetitive in the presentation. If you had told me M Benson had submitted this, I would have believed you. Nice job, Chris, welcome aboard! YES

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Especially having played MMX back in the day, I enjoy the track in a vacuum. For OCR standards though, none of the segments/source tunes of this arrangement are developed, it's mostly brief snippets of each with very basic genre adaptation behind it via the dance beats, which themselves were barren and relatively unvaried. I liked the transition at 2:18 though, which was a nice bit moving into the final section with the ending theme. The last section also happened to be the longest a source tune was used, though that also wasn't developed beyond a very basic genre adaptation. As it notes in the Submission Standards: There's no development of the themes nor any cohesion in the structure. I do dig it, but the textures and production were too basic, and the source tunes were just invoked briefly and stitched together without any transitions. Therefore, it's not for us. No worries though, gentlemen; keep on submitting more material, and we know you'll be back on the front page! NO

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2:54, OMG. I never noticed until now!

Very nice! Happy to be enlightened, as that high note is insane (or insanely loud, one could argue)!

The music was 8:16-long, so I needed to make out the source tune being used during at least 248 seconds for the source to be dominant within the arrangement. :01-:58, (1:14.5-1:19 rhythmic only), 1:59-2:28, (2:49-2:54.5 rhythmic only), 3:03.75-3:18.75, 3:20.5-3:53, 4:19-4:29.5, 4:36-4:40.75, (4:44.5-4:53.75 rhythmic only), 4:53.75-5:26, (5:27-5:43 rhythmic only), 6:34.25-6:48, 7:31.5-7:41.5, (8:04-8:16 rhythmic only) 204.75s melodic usage + 47.25s rhythmic usage = 252 seconds of overt source usage or 50.80% Digging the low rumble underlying the whole piece, which adds some nice tension even in light of the slow tempo here. I like the interplay of arranged sections with original composition, but this seemed to be coming up as source light for me. I had to go back and listen for held notes and instances where rhythms/patterns of the source were used with different notes, which is another valid albeit less used technique. There could be other stuff the theory-knowledgable Js can easily spot, but that's not in my wheelhouse. Dig the organ approach, Woody! YES

Opens as a cover, the has the violin come in at :13; OK, I see the vision. Stays conservative but personalized nicely, with fun tradeoffs of the violin and pianos as leads, with some brief doubling moments as well. Tone of the violin at 1:32 was odd and came off more like an e-violin, so I'm going to charitably roll with that; it's a very nice sound, just not organic if you're listening closely. That said, loved the way this piece progressed, with the strings taking the lead in the second half. Literally laughed out loud at the piercing note from 3:26-3:32; again to me, that's seemingly not something a real instrument could pull off, but there's a stylistic pass I'm giving this that's fun. These samples are used pretty well. Love it, sui, welcome aboard! Let's pierce some ears! YES