Liontamer   Judges ⚖️

Hello OCR. I tried submitting in the past (we're talking 17 years ago here) and my stuff was judged not good enough. In retrospect, it wasn't. I like to think that I've gained some experience since. Since then, I've been doing my own thing on my Youtube channel and I've gained quite the little following, considering I'm pretty focused on the same franchise (Phantasy Star). Time and again, people have been telling me "Man, you need to submit your stuff to OCR". So let's try this again, maybe we'll connect this time. If we do, I'll have some 15 more pieces to submit for your archives. If it doesn't work, well, at least we'll have tried. Here's my second latest. (My latest is 23 mins long so I don't think you want to evaluate that) Contact Information Your ReMixer name: Aeroprism Your real name: Sébastien Your email address: Your website(s): www.nekoprism.com Your userid: aeroprism Submission Information Name of game(s) arranged: Phantasy Star 4 Name of arrangement: One last time Name of individual song(s) arranged: "End of the Millennium" (mainly) and "Age of Fables" (support) Additional information about game including composer, system, etc: Pretty sure you got all this covered by now. If not: System is Sega Genesis, Composers are Izuho Numata (End of the Millennium) and Masaki Nakagaki (Age of Fables). Link to the original soundtrack (if it is not one of the sound archives already available on the site): https://www.youtube.com/watch?v=_kwXB_S5oYc https://www.youtube.com/watch?v=2r4Ms3eE-k0 Your own comments about the mix: PS4 is turning 30 years old this year, considering I'm intensely involved in the PS fandom, I wanted to celebrate and make something special, so I remixed the intro and somewhere along the way, inspiration led to emotions and this lovely piece came to life. I personally love it very, very much. I wish you an excellent day, I look forward to your experienced feedback. -Aeroprism

Your ReMixer name: Crashlander Your real name: Attila Geczy Your email address: Your website(s): https://linktr.ee/crashlander Your userid: 38711 Submission Information Name of game(s) arranged: Super Hexagon Name of arrangement: Crashlander: Focus [Chipzel cover] Name of individual song(s) arranged: Focus Additional information about game including composer, system, etc.. game is available on PC, Android, iOS, cult-hit from Terry Cavanagh, music is from Chipzel, legendary Irish chiptune producer. Link to the original soundtrack (if it is not one of the sound archives already available on the site): https://chipzelmusic.bandcamp.com/album/super-hexagon-ep 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. Post-hardcore cover of Super Hexagon's Focus with vocals in style of Funeral for a Friend, Thrice, etc. Happy 10th anniversary SH, cheers for Niamh! As Super Hexagon is in it's 10th anniversary, and Chipzel's banger (Focus) screamed for this, we covered the song in style of our favourite post hardcore bands with Crashlander (project modern rock band from Hungary). As a local friend from the scene told: "it is more usual to do a chiptune cover from punk rock/post hc songs, you guys did exactly the opposite". We hope the chiptune/Game OST Remix audience likes it. Yours, Attila / Crashlander [VERSE1] The chase just started But many won't pursue It feels like floating, Carried by the flow There's goals and progress The wheel never stops Structure and direction As the focus never drops [SCREAM1] Connected, unsuspected Tessellated and plain symmetric Intersected, injected Collated and downright electric [CHORUS1] Without a will to form it right Without-it working like a glue The strenght will offer nothing The flow just can't come through [REFRAIN1] Fading fabrics of our lives Wawing fingers like sharp knives Holding on To what we can't follow As we focus on the flow [SCREAM2 BRIDGE] Walls closing in six lines of symmetry Changing direction Pulsating affection SOLO: Sanyi [VERSE2] Cant hold the progress The stream will only grow It's like the flood now I’m carried by the flow [CHORUS2] Without a will to form it right without-it working like a glue the strenght will offer nothing the flow just can't come through [REFRAIN2] Fading fabrics of our fate Weawing fingers tight and straight Holding on to what we know As we focus on the flow <<JUST FOCUS>> <<JUST FOCUS>> <<JUST FOCUS>>

Remixer name: Bluelighter (ID 21840); Bowlerhat (ID 30366); Dewey Newt (https://ocremix.org/artist/18034/dewey-newt); Tsori(ID 2960) Real Name: Guillaume SAUMANDE; Jorik BERGMAN; Matthew Moore; Logan Thomas Mail: Game & Songs: Final Fantasy VII & Debut Composer: Nobuo UEMATSU Interpreter: Bowlerhat: Flute Dewey Newt: Trombone Tsori: Trumpet Comment: Hi OCR, Here is an orchestral arrangement of "Debut" from ff7, with collaboration of Bowlerhat (flute), Dewey Newt (Trombone) and Tsori (Trumpet). Thanks to them! These three instruments reinforce what I want for this mix, alternating delicate and heroic mood! I really enjoy the original track, simply but effective; like a lot of jewels of the OST. In the game, it matches with a play acted by two important characters. Distinct parts of this arrangement can represent different acts of this play. The beginning is close to the original and announces the main melody. At part 1b (cf. breakdown), the March band instrumentation starts. It continues at part 2 with some madcap harmonies, notably with trumpet. For these, I’ve taken my inspiration notably of the French composer Gerard CALVI who made The Twelve Tasks of Asterix Part 3 makes a contrast with the precedent. It’s played by flute in a sad mood, with arpeggios of harp. I’ve played with the time signature to accentuate the hesitating mood of this part, with breaks more of less long after each phrase. The harmony is also different of the original, contributing to the sad mood. Return to March band rhythm at parts 4 and 5. Part 5 gives variations of melodic line 2 (ML2), with some heroic harmonies. The arrangement concludes by the flute playing ML1 in a peaceful mood. Enjoy Guillaume Breakdown Original 0’00 Melodic Line 1 (ML1) 0’21 ML2 0’45 ML3 1’00 Repeated Arrangement ML1 0’00 Soft 0’24 March Band ML2 Madcap 0’45 Intro 1’03 ML2 1’29 Transition ML1 Soft 1’37 ML1 Variation 2’06 ML3 2’15 ML1 Variation 2’23 Transition ML3 2’29 ML1 March Band ML2 March Band 2’50 Heroic 3’14 Madcap variation 3’38 Soft ML1

I could see the sound palette not appealing to some, whether judges or listeners, but I'm cool with this. Opening groove seemed like it was going to drag out, but then shifted at :35. At 1:14's section, I'm liking the energy, but something's sounding missing from the soundscape. 2:03 repeated the intro, then 2:15 repeated 1:14's section. 2:39 had a very brief original piece, just a few seconds before ending. Didn't like the copy-pasta of that chunk of the last minute, but this was a different enough textural take on the source that, unlike Parker's shorter Sonic 2 piece, this could bear some of that repetition. I'm on board. YES

Short run-time, so it better distinguish itself from the original and also not retread stuff. The lead at :02's not hitting me right, but I'd need to have a musician judge weigh in; to me, it feels very generic, even though I like most of the other sounds used here. Because this is so short, anything cut-and-pasted allows this to feel underdeveloped, even the retread with slight variation at :47. Would have also liked 1:51 to not repeat anything, even so briefly. The shift at 1:03 was cool too, though I'd argue, even with so much going on, something felt incomplete, possibly due to the energy of this feeling stilted. The ending at 2:06 definitely feels like a sudden non-resolution, like you gave up, which was unfortunate. I like the concept, but could use 15-30 seconds of added material at the end (or elsewhere), a real ending of some sort, and perhaps (if I'm not off-base), something to help this not feel so stilted. I don't need this to sound speedier like the original, Parker, but something's still missing. NO (resubmit)

Still a YES, and nice to hear a little more substance thrown in. Groovin'.

Still YES, so we'll see what some previous NOs eventually think.

We can do a Discord listening party.

I definitely heard what MW was talking about with the source tune repetitiveness, although once you get past 1:23 of the source, it pivots. I appreciate you putting this track on my radar, Spice, it's a good source tune choice! Opens up quietly but quickly gets the beats going. When the escalation started picking up at :14, I wasn't liking how the melody's piano line was getting buried; by :27, the melody might as well not have been there, it was too quiet and subdued. By putting the all the volume and focus on these kicks/beats after :27, you actually expose how plodding the pattern is without the proper support built around it. Shift to 1:23's part of the source tune at 1:23 in the arrangement and the lead still doesn't cut through. It'll sound like I'm saying you have to copy the original verbatim or that the sound quality of the original, professional track is our bar: the source tune’s countermelody and bassline have a lot more smoothness and flow compared to this, which sounds more stilted. As far as the sequencing and mixing, if you haven't done so already, I'd recommend getting feedback in our Workshop's Post Your Game ReMixes forum as well as our Discord server's #workshop channel. If the parts were mixed to give everything the proper space, it would be a good cover version, but there's also the question of whether this rendition's interpretive enough for our arrangement standards compared to the original song. There's a saw providing the countermelodic groove here was about the only significant original writing I was identifying here; it seemed like all of the other part-writing was carried pretty closely from the source tune. Again, mixing issues aside, this is a solid cover that reconstructs the original well. As long as it wouldn't compromise your vision of what you want from this, consider integrating other writing ideas or changing up the instrumentation or textures somehow. Even if it's not this track, I hope we hear more submissions from you, Spice! NO (resubmit)

MW undersold the arrangement techniques used here, but prophetik elaborated on what he did hear to present a fuller picture on the positives here. The overall sentiment's right though in that this arrangement's vastly underdeveloped; once you get to 1:13, you've heard it all, so see what other variations and/or ideas you can bring to the table. Would love to hear another version of this, as the sequencing worked well, the presentation's nice and fluid, and the, albeit brief, guitar guest spot by Daan had good energy. If you're not closed off to revisiting this, Drew, see what more you can do. Juke's Double Dash arrangement's a great reference; perhaps integrating other theme cameos could give you ideas in varying up the instrumentation and textures. There's plenty of other ways to fulfill this track's potential as a standalone arrangement. NO (resubmit)

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

As soon as I fired this up, I was digging Damon's sound palette. A common critique I've had with Damon's past work are his samples having a stilted feel to them, so I have to point out how much stronger this sounded; Emunator pointed out some humanization concerns, sure, yet it's a fluid sound throughout, and the brief run-time leaves you wanting more. Also, I see what you did there with this arrangement title. Beats at :23 felt a bit tame for me, but things filled out more as things continued on, so it was a very fleeting feeling; the way this piece's textures gradually escalate until 1:25 and then simplify for the second half is such a fun arc. Excellent example, just like C418 did with his original, of establishing the core pattern and then building on top of that with more and more varied, original writing ideas. Though it's Minecraft-inspired, this would fit in perfectly with a modern SimCity-like game. I always have plaintive griping in these votes when someone's got well-written bass work that's buried due to the mixing; the bassline writing in particular here was a subtle detail that added nice density and movement due to being mixed well. Nice lil' off-rhythm stuff to the beat, first used at :27, to give this some personality. The final note cut-off should have trailed off more, so it would be nice to get an adjustment there. It's so rewarding growing up while being a part of our community and seeing how parenthood -- while it subtracts time -- has added to people's creative processes. We've had Xaleph collaborate with his daughter, we've had DarkeSword make something for his newborn son, and now we have NoTuX inspired by hearing this source while his daughter was gaming. Chef's kiss, Damon, you've sincerely brought a smile to my face and tear to my eye; I'm proud of you, this is great fun, and exemplary work! YES

Hey Eric, it's going to sound like I inherently dislike this track and am actively trying to discourage your submissions. Having judged an earlier version, there's some writing improvements, but also still some significant production drawbacks. The panning's too wide, and I saw the comments in the Workshop, but I'd argue parts are bouncing around the stereo field too much; it's nothing where I'd NO an otherwise cohesive arrangement over it, but it's potentially disorienting. The opening line as well the core kicks/beats in particular are extremely barren; they don't resonate anymore or fill out the soundscape. I'd have to say as far as the sound quality and mixing that it's a step down from the previous version. I thought the previous version would have passed the bar of ye olden days pre-judges panel, but this makes less of that case. The brief shot of the lead at 2:05's very piercing. This will sound wrong and insulting; you should step away from the track for a little while to reset on account of this resubmission sounding markedly worse from a sound quality standpoint (strictly with the synth choices and seeming lack of effects). Let's see what the others say, and I may come back to this to co-sign on other judges feedback if they hit on relevant aspects I couldn't articulate. NO

2nd RESUB 1st RESUB Original Decision This is Audiomancer, once again. This is another attempt at Mara and Nara's theme from the fourth chapter of Dragon Warrior 4. A few things I did differently this go around is use high and low pass filters and shelves on each individual track, instead of just on the master. I changed the percussion samples, lowered the volume on the percussion, and changed some of the patterns/fills. I also changed some of the synths, and added some automated filter, flanger, and comb filter affects to the ends of some phrases to add variety to the sound. In addition, I brought the melody components closer to center/ reduced the panning. I did the same with the different snare drum sample. Written on Caustic 3, a mastering pass done on FL Studio. Original inked below, arrangement attached. Thanks ahead of time for your consideration, I'm enjoying the challenge of trying to mix and produce, even if difficulty is higher than I expected;) Original Dragon Warrior IV (NES) Music - Nara and Mara Overworld

Your ReMixer name: Parker Walker Your real name Parker Walker Your email address Your website(s) https://www.youtube.com/channel/UCW1jycmYfDZYXPnL6W9DEtQ Your userid (number, not name) on our forums, found by viewing your forum profile: SPIRAL_SYSTEM Sonic 2 Funky Synth Sonic Emerald Hill Zone When I hear the original, it always screamed "funky synthesizers" to me. Is it just me? Anyway, I hope this song isn't too short for the judges. There is a lot in there, and I sped the tempo up to give it that sonic energy. I tried to put a feeling of progression and playing the game for the listener, especially during the bridge, where I also used Chipsynth MD to bring back that classic sonic slap guitar. Thank you for your consideration and time!

Contact Information Artist name: Lashmush Real name: Rasmus Sorber E-mail: Sites: soundcloud.com/lashmush , mixcloud.com/lashmush , lashmush.newgrounds.com , lashmush.bandcamp.com , youtube.com/lashmush Userno: 20246 Submission Information Lotus 3: The Ultimate Challenge Twin Millennium (Nitrous Remix) Lotus III: The Ultimate Challenge Amiga port, originally composed and arranged by Patrick Phelan. Original track here I originally made a synthwave version of this more close to the original tempo. I did not upload it as it was simply way too samey as the original so more of a cover, not a remix up to standards. However, I worked very hard recently on my first live performance (big success, btw) and I figured I could do a sort of experimental psytrance approach in 160 bpm instead. Sooo, I started ripping out old synths and slapping in newer mix techniques I've learned, I added a synth harmony to the VST guitar, I did all sorts of junk for this one. The original even has a bunch of AI isolated samplings of voice lines from Hot Fuzz, the Edgar Wright movie. Removed for OCR ofc. In any case, I suppose total time put into this is like 35-40 hours maybe, 6-7 of them being this remix of my old remix version. Drive carefully with this one, folks. You're liable to arrive much faster at your destinations, if you catch my drift here? DROPBOX BACKUP LINK (44khz 16 bit WAV):

Main ReMixer name: TheManPF (User ID: 35318) Additional artists: Zach Chapman; Newmajoe Submission: Game: Metroid Prime 2 Name of arrangement: GFS Jukebox Playlist: Track 1 Songs arranged: Title (https://youtu.be/s6N0A1U_ZhE); Menu Select (https://youtu.be/NKYJD_duWqQ) Original composer: Kenji Yamamoto System: Gamecube Year: 2004 Comments: This arrangement was done as part of the "Metroid Redux" month in Dwelling of Duels back in February 2022, and got 3rd place out of 25 tracks, it was also the first time I got to the top 3. The arrangement is divided into two halves, one for the Title theme, and another for the Menu Select, I never played a Metroid game, but I found these two tracks back to back while scavenging and I couldn't decide for one, so I did both, starting as "Title", moving to "Menu Select" at 3:33, and back to "Title" at the last section. The song is done in a loose jazzy style with a focus on piano, with a mental image of a person sitting on a Galactic Federation cruise spaceship while jamming out to the ship's jukebox. Some portions use chord progressions from the sources as jam sessions for different solos. This is also the first time I used vocoders in a song (even before We Are the Robots), and while it does have lyrics, since we don't know what the original is saying, I'm keeping it a mystery for this one too ? (it's nothing vulgar, I promise). Zach is once again playing all of the bass, and my friend Joe is responsible for the keyboard solos (both piano and rhodes). I did everything else i.e. arrangement, drums/strings sequencing, mix, guitars, vocals, and played the piano bits that are not solos. Worth mentioning that the project for this song is super mega hyper deadedy dead dead, so I won't be able to do any revisions in case this gets sent to resubmit (unless I redo the whole mix from scratch which I'm not particularly excited about).

ReMixer name: jnWake, Ivan Hakštok, JohnStacy, Brandon L. Harnish, Nathan Froehlich, DeLuxDolemite. Name of game(s) arranged: Okami. Name of arrangement: Waka Waka. Name of individual song(s) arranged: Waka Appears (Track 215 here https://www.zophar.net/music/playstation2-psf2/okami) Link to arrangement: . This is an arrangement I wrote for DoD's PS2 month back in May of this year. I've always loved Okami's OST so that particular DoD theme gave me a push to finally do a cover of it. I usually do prog. metal kinda stuff for my remixes but that particular month I was in a jazz-ish mood so one of the first things I decided (even before picking a source) was to do something jazz oriented. Picking a source was a little tough, but I eventually decided on Waka's theme, which is a pretty flute oriented theme with waltz rhythm. Somewhat unexpectedly, I found at least 2 jazz covers of it on YouTube but I decided to keep at it anyway. Since I wanted to do jazz-ish stuff, I decided to find people to perform for the arrangement instead of using VSTs since it'd sound a ton better. This remix features JohnStacy on french horn, Ivan Hakštok on bass, Brandon Harnish on EWI/vocals/melodica, Nathan Froehlich on trumpet and DeLuxDolemite on drums... quite a large group for something arranged in less than a month! Anyway, their performances really add a lot to this, so thanks to all! I performed synth leads and did MIDI recordings for the piano, organ and supplementary synths. The arrangement features a fair bit of somewhat original writing by me so I hope that isn't an issue... I'll detail source usage now in any case. The source is actually a pretty simple source and it's mostly composed of 2 elements, a harp melody and a flute melody. These 2 elements are the basis of my arrangement. 0:00-0:25: Intro of the song, it features the harp melody on piano (with some variations). Bass and drums are "original", not using the chord progression from the source. 0:25-1:09: Here, the arrangement switches to 4/4 and John Stacy's french horn "ensemble" plays a variation of the flute melody (it's mostly some different timings to fit the change from the source's 3/4 to 4/4). 1:09-1:19: An "original" riff, it keeps the rhytm from the previous sections but isn't based on the source. 1:19-1:40: Brandon's EWI plays a variation of the flute melody over a chord progression that constantly changes key! 1:40-1:48: Switch to 6/8 and piano plays the harp melody again, but the chord progression shifts to a somewhat quick constant E to D. 1:48-2:28: First, bass and drums accompany the piano and then we have a solo duel between John's horn and my synths! As backing for the synth solos we can hear Brandon's singing. 2:28-2:49: To get inspired for the arrangement I listened to some Snarky Puppy... and that led to me wanting a trumpet solo in the arrangement, which Nathan played awesomely (is this even a word?). The backing for the solo is "original" writing, repeating the riff from the earlier original riff. 2:49-3:14: This is a completely original bridge, mostly on 7/8. Synths played by me, accompanied by John's french horn. 3:14-3:35: A repetition of the main flute melody on french horn. 3:35-4:18: Main melody on F#, now on synths over faster drums and a more "dramatic" chord progression. I'd call this the main climax of the song. On the second repetition of the main melody you can hear Brandon's melodica doubling and/or harmonizing the synth lead. 4:18-4:27: Repeat of the "original" riff from earlier, now on F#. 4:27-4:48: Piano plays a variation of the harp melody to close the song on a B minor chord with a lot of added notes. I had a lot of fun writing this and it was pretty well received on DoD, so I hope you enjoy it!

OC ReMix team, Good evening! Mazedude here. Dang, it's been a while since my last remix. I've still been making music these past few years, but it's been original work for a series of projects that still have a ways to go, so, more to come on those later. For now, enjoy a new "just for fun" track! -- Remix Title: "Cloud Sailing Sky Robots" Game: Rygar System: NES Year: 1987 Composer: Michiharu Hasuya Original Composition: Lapis (https://www.youtube.com/watch?v=Y9IazYBD56A) WAV file: -- Description: It's been quite a long time since my last tracker homage. Remixing a game theme while at the same time paying a nod to one of the trackers that inspired young Mazedude as I learned the art form... I love doing that, and it's a lot of fun to work with the oldschool sounds and samples. Recently I was listening to some of those homages and realized that I'd never done one to the artist known as Scirocco, which felt like a shame, as he was one of the first trackers that I was introduced to as a teen. Well, problem solved with a new Rygar remix! I took what I always thought of as "the cloud level" and have reworked it in the style of "Full Sail," a classic track by Scirocco. Clouds and robots in the sky meet water music. Enjoy! -- Let me know if you need anything else from me on this one, thanks! All the best, Christopher "Mazedude" Getman

Remixer Name: Sekky Real Name: Daniel Firth Email: Forum ID: 38695 Game Name: Sonic Adventure Arrangement Name: Tikalkaline Song Arranged: Theme of Tikal

RebeccaETripp Rebecca Tripp https://www.youtube.com/@RebeccaETripp/videos ID: 48262 Game(s): Tears of the Kingdom Song Title: Emanations from the Garden Songs Remixed: Sky Islands Here’s a link: I don’t know if this is really OCR material or not, to be honest. I just love the idea of us all adding some TotK tracks to the ranks, though!

Contact Information Draconiator Justin Landry https://www.youtube.com/channel/UCRtgNmluXn0fIr4O2gVdY1g (inactive) 17504 Submission Information Castlevania "The Dungeons of Castle Dracula" "Poison Mind" Nintendo Entertainment System https://www.youtube.com/watch?v=BSVoSPtrCRo Here's something I wanted to remix for a while, but as it happens, since my last mix, REAL LIFE(tm) hit me upside the head like a thousand rabid monkeys. Or something. I thought I never finished it, but I did find this track languishing around by its lonesome, and to me it sounds finished ENOUGH. Unfortunately, over the years I moved away from music creation so this is the only time I will submit this particular piece. I remember wanting to dial the creepiness factor up to 11, so I employed some super wet piano that sounds more like something plucked. The Choir Strings are from a soundfont, and the organ is a free VST. I's conservative, but I tried to make it interesting sounding to try and make up for it. MP3 file is attached to this e-mail.

Your ReMixer name: Parker Walker Your real name Parker Walker Your email address Your website(s) https://www.youtube.com/channel/UCW1jycmYfDZYXPnL6W9DEtQ Your userid (number, not name) on our forums, found by viewing your forum profile: SPIRAL_SYSTEM Streets of Rage 2 Sega FM drum and bass Spin on the Bridge For this remix, I wanted to push two facets of the original to the max: Sega FM elements and the Dnb style frentetic energy. At the same time I wanted to keep the main theme intact to not alienate fans. I would say this isn't a radical remix, but rather the original and more. Besides one tape-stop effect, this was made entirely (drums, everything, effects) with Chipsynth MD and I am still discovering what the synth can really do. That's all there is to say - I hope you enjoy and thanks for the judges' consideration. Sorry for the uninspired title.

Since the artist mentioned the original source and a later remake version, YouTubes for both are included, even though this just has the original version as the inspiration -LT I initially wanted to just attach the file, but it's too big and the email bounced back, so I'm throwing it on my personal mega Sean Tartaglia https://vocesnaturalis.com/ Vantage Master ... purity A Quiet Purity Falcom Sound Team jdk (But it's definitely Masaru Nakajima 100%) https://www.youtube.com/watch?v=vEVcsgZhqe0 For the past few months I've been working on music for a strategy game project that may or may not ever see the light of day, and part of the vision was to include arrangements of tracks from games I love, including Fire Emblem, Super Robot Wars, and Vantage Master; however, stylistically and tonally, this arrangement didn't really quite fit the feel of the other tracks, so I decided to set it aside, and I figured it would be fine elsewhere. I'm not a big jrpg fan anymore (too long), so most of my interest in Falcom is in earlier games, like Brandish and the early Ys games. However, as a forever fan of strategy games, and especially turn based hexagonal tile ones, I love Vantage Master. Part of it is the gameplay, but the other part is the whole Falcom package you get, with a lot of care and attention put towards the visuals and sound. Nakajima is part of that, next to Ishibashi he's part of why 90s Falcom is so good, and this is probably my favorite track in the game. In the portable remake (https://www.youtube.com/watch?v=CAMiTKfy-Wo), Yukihiro Jindo gave this track far too much edge when I think it's much more a pensive track, though parts of his overall arrangement aren't bad. I think if it wasn't an arrangement of such an iconic piece of music (it's the first track on the OST release instead of the game's opening!) it would be a pretty good map theme. What I wanted to do was stretch it out a bit and give it much more atmosphere. Since the tone of the track is to light, I opted to use more dreamy and airier instrumentation, with a simple choir patch covering the ground, celesta floating around overhead, e piano with heavy delay to give the rhythms a bit more drive, and an organ reed stop saturated with flanger to give it a bit more of a haze. The original intention of the track was as music for a fog of war map, so the whole point of it is to sort of enhance that mystery and haze. There's also that other worldliness of vantage master itself, which is more of an atmospheric game, especially when compared to other strategy games. When it comes to mixing and VSTs and computer music, I tend to be more interested in that more "artificial" sound of the 2000s than the newer samples we have now, so forgive me if the flugelhorn or strings come off as very... PS2. As a musician I'm most used to performing in churches and cathedrals (with stone floors, not carpet. It makes a difference.) so I also prefer everything being a bit wetter in terms of reverb. Mixing disparate elements can only go so far, but to my ear it's passable.