Liontamer   Judges ⚖️

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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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.

:01-:38.5, :46.5-2:17, 2:37.25-2:47, 2:50.5-3:32.5, 3:42-3:55, 5:10-5:35, 5:36.75-5:57, 6:02.25-6:15 = 237.75 seconds Just sanity checking the source usage for myself so that I can be clear I understood it; this wasn't anywhere near being a borderline call there. Volume's definitely way up there, but it's mixed cleanly, so I'll have to get over it. Lead guitar's 1:27's seemingly off-key; not sure what happened there, but super minor; anyone with theory knowledge can say whether there's a half-truth there, it just seemed like that one note could have been a little higher to match with the chords behind it. Loved this one, another J magnum opus, which feels like everything he makes; no matter the style, he makes the presentation unique. Epic as you'd expect, dayum! Enjoy the ride! YES