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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

Definitely sounds too loud from the beginning, but we'll see where this goes. Strong energy though, even if the core kick could be pulled back and the melodic line should be more upfront and less washed out. Could fit right onto DDR Mario Mix in a heartbeat. Nice drop at 1:40 to freshen up the texture. Beats came back at 2:04 but paved the way for comping-style original material which was also a strong compositional tactic, followed by a shift with completely different original writing at 2:29, then bringing back in the source theme at 2:41 underneath. 2:53 then finished things off with a quick hit of the verse's ending for the close. So yeah, the mixing isn't ideal for me, but it's intentional and more of a personal taste issue with the balance than any big problem. The arrangement had drive, energy, and (most importantly) development & variations to be a fully fleshed out presentation. Easily my favorite B-laze submission yet! YES

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I forgot about those, didn't I? I just asked @djpretzel what would be the best way for me to go about getting him all those WAVs, so I think we should be able to take care of it soon (let's say by Q2 2023). Not sure what format this would be (e.g. offering individual downloads, hosting a torrent), but thank you for resurrecting the discussion, since that was always in the eventual plans!

Very cool concept to turn this arrangement into dark EDM, and I dig the mixture of 7/8 & 4/4 time carried over from the original; gotta give credit as well for using all of the elements of the source tune, but not structuring it in the same way and letting the transitions breathe. Unlike DarkSim, I wasn't disappointed at all by that realization; you were very creative and purposeful in how you invoked the source tune throughout the piece, and I wasn't bored or otherwise feeling that this couldn't justify the length. Melody at 2:02's insanely quiet, but I figure it'll ramp up; there it is at 2:16, a little more audible, but still competing too much to be heard and getting swallowed up. Nice usage of the bells as well to handle that supporting writing. 3:16's section has such a dated sound, semi-Dune: Spice Opera vibes, just a flimsier and more vanilla-sounding palette. Things filled out better around 4:13, but there's still significant empty space, where the synths, sustained strings, and beats all sound thin. The beats in particular sound plodding and bland in this area as well once you feel they're getting repetitive. Then the keyboard at 4:44 also lacked body and should have mixed to be more forward. This area's a bummer here, because it would sound more sophisticated and fleshed out with better effects. 5:16 had some choir vox added in, which is a positive, but then things sounded muddy until 5:49, where no particular part takes the lead and gives direction to the music; the beats seem to be almost the same volume level as the vox, piano, bassline and are competing for space rather than working in concert. 5:49 went back to the source's intro rhythms. I liked the bell instrumentation a lot, lots of body to it, though prophetik's point about the repetitive sound was on point. Things beefed back up at 7:00, and I'm feeling again like the mixing's imbalanced, with the bassline and bells being too loud over the melodic content, but we'll live. Rigid-sounding keyboard returned at 7:39 for the wrapup and was thin again for the finish. I was going to reject this on first blush, because I felt 3:16-5:19 was noticeably thin on the production side and sounded more like a well underway work-in-progress that needed the finishing touches for proper fullness and balance. I had to relisten to this and reexamine how much of this track clicked vs. what didn't. It's not where I think this ultimately should be, but the overall sound palette is strong and the arrangement is also, so a NO would have been too drastic. I won't make the perfect the enemy of the good here when the arrangement is so creatively approached and the production's solid enough most of the way. The overall creativity of Troels's arrangement easily wins out for me. Count it! YES

The jaw harp stuff sounds goofy but gets your attention right off the bat. The lil' woodwind notes in the background from :47-:56 seemed untuned & out of place, but were very light. Applause SFX at 1:02 and 2:21 sounded poorly integrated; it didn't blend well, plus it was a flimsy smattering sound. Those were the minor parts I wasn't feeling or that stuck out. Otherwise, awesome personalization of the instrumentation, and some neat textural approaches I haven't had the good fortune to hear from Rebecca until now. Production issues aside that I've had with some of her pieces, you can truly rely on her to beautifully and capably adapt her theme of choice into mellow, relaxed instrumentation; I'm always excited when it's time to see what she's done next. Nice work! YES

Here we gooooooooooooooooooooooooooooooo! YES

Original RESUB Decision (after initial DR) Hello:) This is Audiomancer's (me) another attempt at this remix of Mara and Nara's theme from Dragon Warrior 4. My work situation has changed, so now I have more time at home to attempt this on a real DAW:) Remix is attached. Original Dragon Warrior IV (NES) Music - Nara and Mara Overworld

Weird how that buzzing dropped at :44; I would have made that gradually fade more. I wish the brass (e.g. 1:06) & bowed strings (e.g. 1:16, 5:04) weren't as dry and exposed in places, which were the only weak instrumentation points I had here; extremely stylish and zesty per J's usual! Crazy arrangement, with the main focus being on "Al Kharid" but every theme getting play. It generally progresses without even feeling like a medley, more shifting over into different ideas. Obviously, the volume's too much. Stuff like the crunchiness with pounding drumbeats like 5:21 might be a stylistic thing, but it ends up sounding distorted to me, so the levels should be pulled back, and I agree with where the conditionals are coming from. That said, if the files got corrupted, I'd still say the site's a better place if we post it as is, so I'm not going to go conditional on a YES.

Super lush stuff! Nice work, Brad.

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