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Original Decision Hello! I would like to resubmit "Treasure Beyond Dreams". Your panel's advice and criticisms were very useful, so I implemented as many of your suggestions to the best of my current capabilities. I had made a bad mistake and didn't mix with headphones, but the panning issues were very clear when I put them on. I agree that the 2nd lead that comes in around 1:25 was quite harsh sounding in some parts, so I toned it down with eq, but there was actually also a lead guitar part that was layered with it in the "chorus" that I completely re-recorded and brought forward. I must admit I originally used that synth to kind of hide my guitar playing, but this time around I decided to practice it a bunch and go for a better take with a different tone. I re-recorded the other electric guitar parts as well with a softer tone so hopefully that is also an improvement. The file: Thanks again for your time! Kevin

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The structure's essentially untouched from the previous version, so it's mostly the mixing that's been tweaked to not have huge volume jumps. Extremely awkward transition at 1:25 where everything before it cut off instantaneously, which didn't make sense. The mixing also didn't sound right, as the drums have almost no presense. The guitar soloing/noodling still lacked body, but was mixed in a way to mitigate the realism issues. Shaky choir vox from 2:21-3:09 (2:25-2:26 being the most exposed) that didn't sound right either; sometimes the sustains stuck out or the timing seemed slightly out of step. I will say the articulations don't sound as jerky this time around, so there's that going for it, though the strings from 2:21 until the end are still exposed. 3:00-3:26 stuck out the most, particularly the longer sustains from 3:16-3:26. Agreed with prophetik that, despite the various realism and mixing issues, the instrumentation was nice and engaging to listen to; the sequenced guitar's and the drums work the least, but the textures are fine now and there's less volatility with the volume. I still feel that the number of smaller issues is adding up to what's now a NO (borderline) call for me. Arrangement's come in all shapes and sizes, so the layout of this remains fine. The instrumentation also remains pleasant and engaging. Smoothing out the vox & bowed strings sequencing further would make the execution of this not seem jerky in too many places. It's definitely worthy of support, Harlem, and I'm definitely in favor of not making the perfect the enemy of the good. That said, I'm not quite there, but gradually coming around to it.

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The 4:03-4:10 section was the only area where I felt things got too cramped, but it was brief. I actually thought the use of the failure jingle for the end at 4:28 was too abrupt; synth was generic-sounding despite the processing, and just didn't feel thematically connected to the rest of the track, if that makes sense. At the end of the day, that's more nitpick stuff. Once the update was made to the leads to not be so liberal as to be unrecognizeable, I was on board, and the production cleanup was a nice bonus. Great revision; now you're playing with power! Thanks so much for your openness to revisiting this, Tab, and I'm so glad to have you officially in the rotation here. Looking forward to your next submission too! YES

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OC ReMix presents Mode Seven: A Jazz Tribute to the SNES! November 7, 2022 Contact: press@ocremix.org FAIRFAX, VA... OverClocked ReMix today released its 77th arrangement album, Mode Seven: A Jazz Tribute to the SNES. The album honors several soundtracks from the Super Nintendo Entertainment System, the 16-bit platform originally released by Nintendo in 1990. Featuring 10 spirited arrangements performed by The OC Jazz Collective, Mode Seven is directed by OC ReMixer, multi-instrumentalist, and arranger Dylan "Wiesty" Wiest, and is available for free download at https://mode7.ocremix.org. Mode Seven includes an experienced roster of jazz musicians paying homage to the '90s most influential gaming system, arranging several themes from 10 SNES titles for big band and improvisational jazz, and follows up on the OC Jazz Collective's first album, Chronology: A Jazz Tribute to Chrono Trigger. Mode Seven was made by fans, for fans, and is not affiliated with or endorsed by Nintendo or any game companies; all original compositions are copyright their respective owners. "After the OC Jazz Collective's in-depth exploration of Chrono Trigger in 2016, I knew that the console which provided us with one of the most memorable gaming experiences of all time deserved its own treatment by the collective", shared director Dylan Wiest. Explaining the legacy of SNES while touching on Mode Seven's scope, Wiest elaborted, "After all, many series of equal stature to Chrono Trigger, such as The Legend of Zelda, Final Fantasy, Mario, and Metroid, all released some of their most popular titles on this console which would go on to define their respective genres." Mode Seven's selection of Super Nintendo titles includes: Dragon Ball Z Super Butouden 2 Final Fantasy VI F-Zero Killer Instinct The Legend of Zelda: A Link to the Past Live A Live Mario Paint Mega Man X Super Mario World; and Super Metroid. Beyond the album's extensive gaming influences, the OC Jazz Collective's arrangers were also stylistically inspired by musicians including Robert Glasper, Neal Hefti, The Jazz Crusaders, Hank Levy, Oliver Nelson, and Nate Smith. "The 'dream team' assembled for Chronology has grown in size, and new arrangers, musicians, and a representation of SNES titles both beloved and overlooked have all come together to create a fitting follow up to our first release", Wiest proclaimed. The album's cover artwork was also designed by Wiest, and includes lighthearted character designs by Sean "RurouniZel" Lozier that combine the OC Jazz Collective's members with 16-bit protagonists from the Super Nintendo era. "I think that the OCJC has upped their game to a whole new level for Mode Seven", Wiest affirmed. "With the level of musicality and meticulous attention to detail this ensemble brings, I hope that Mode Seven: A Jazz Tribute to the SNES will be as memorable as the console which inspired it." ### Preview it: https://youtu.be/pjzpj7be7gA Download it: https://mode7.ocremix.org Torrent: https://bt.ocremix.org/torrents/Mode_Seven_-_A_Jazz_Tribute_to_the_SNES.torrent Comments/Reviews: https://ocremix.org/community/topic/51803

Preview Mode Seven: A Jazz Tribute to the SNES: https://youtu.be/pjzpj7be7gA Download Mode Seven: A Jazz Tribute to the SNES: https://mode7.ocremix.org Torrent: https://bt.ocremix.org/torrents/Mode_Seven_-_A_Jazz_Tribute_to_the_SNES.torrent For many gamers, the SNES marked a golden age of video games and the soundtracks that accompanied them. For the first time, technology was available that was capable of producing games with vivid art, complex and captivating storylines, and music that could truly establish the atmosphere required to complete a fully engaging experience for gamers. Game developers were finally able to produce epic masterpieces on Game Paks that truly represented their artistic vision, as opposed to relying on the imagination of gamers to fill in the gaps left by the technology of previous generation consoles. Though the SNES served as a launching pad for the level of immersiveness video games would go on to provide over the next 30 years, it was also the pinnacle of the 16-bit era, providing gamers with one last glimpse of how far technology had come before game developers would go back to the drawing board to start from scratch in the 3D era of graphics. The SNES's relatively minimal, sprite-heavy graphics showed how vivid and imaginative artists could be with fairly primitive technology, and it has always amazed me how well SNES-era graphics have aged when compared with their 3D successors. Likewise, the SNES's SPC700 audio engine, which could only handle 8 distinct voices at any given time and up to 64kb of audio data, required composers to be extremely thoughtful in the choices they made. The phrase "limitation breeds creativity", is profoundly apt when it comes to the artists who brought us the masterpieces of the 16-bit era, which have gone on to inspire a sort of renaissance in recent years with the explosive popularity of 16-bit style games such as Shovel Knight or Octopath Traveler, as well as the world of chiptunes and music trackers. After the OC Jazz Collective's in-depth exploration of Chrono Trigger in 2016, I knew that the console which provided us with one of the most memorable gaming experiences of all time deserved its own treatment by the collective. After all, many series of equal stature to Chrono Trigger such as The Legend of Zelda, Final Fantasy, Mario, and Metroid, all released some of their most popular titles on this console which would go on to define their respective genres. While the initial groundwork for Mode Seven: A Jazz Tribute to the SNES began way back in late 2016, multiple circumstances including relocating across the country, personnel changes, the loss of my father (who bought me my SNES in 1996!), and a global pandemic delayed the release until 2022. While Chronology will always hold a special place in my heart, I think that the OCJC has upped their game to a whole new level for Mode Seven. The "dream team" assembled for Chronology has grown in size, and new arrangers, musicians, and a representation of SNES titles both beloved and overlooked have all come together to create a fitting follow up to our first release in 2016. Capturing a style of music such as jazz that requires such close interaction between musicians is no easy task when the musicians are seperated by multiple continents, recording their parts one at a time. However, with the level of musicality and meticulous attention to detail this ensemble brings, I hope that Mode Seven: A Jazz Tribute to the SNES will be as memorable as the console which inspired it. - Dylan Wiest (Wiesty)

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