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About DragonAvenger

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    Judge, Unsung Heroes Asst. Director

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  • Biography
    I sing for fun, and write lyrics to videogame tracks.

    -Deia Vengen
  • Real Name
    Deia Vengen
  • Occupation
    X-Ray Technologist
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  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Composition & Production Skills
  • Instrumental & Vocal Skills (List)
    Vocals: Female
  • Instrumental & Vocal Skills (Other)
    Vocals-Female, alto-soprano range.

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  1. This sounds fantastic, and it's straight up whether or not it's too far from the source at times. Had to do a few listens through and A-B to get a feel of how you adjusted things, but I think there's enough of the melodies throughout that this stays recognizable. Quality work here, love the chugs and the overall dark and depressive feel this has. YES
  2. ReMixer name - mikedm92 Real name - Michael Markie Website - https://www.markiemusic.com/ Game arranged - Quake Name of arrangement - Slipgate Name of song arranged - Quake Theme Misc sounds used: Screams from original track, Quad Damage power up sound Additional information - Composed by Trent Reznor of Nine Inch Nails, game on DOS/Windows PC Link to the original - https://www.youtube.com/watch?v=Mv5Jvr2Fp48 Your own comments - I wanted to take the iconic grungy-industrial soundtrack of Quake and put a modern metal spin on it, with more upfront chugging electric guitar and acoustic drums, while still retaining the dark atmosphere that the soundtrack is known for. I achieved the classic NIN guitar sound in the intro and interlude by removing the guitar cabinet from the equation, leaving the raw amp tone unmolded by the specific frequency shaping that cabinet speakers are known for.
  3. The playing is definitely emotive here, though it is a bit difficult to get past the plodding pace here. I think the developments that do happen take a very long time simply due to the tempo, which makes it a difficult listen. I wouldn't have minded having a slower section to start or somewhere in the middle if it was used as a tempo change or emphasis, but as is it really starts to drag very quickly. The other big issue that I think is contributing to this is the fact that the first ostinato pattern that starts the arrangement continues throughout the entire mix unchanging. After a while that was the only part I could focus on, and it became distracting. I think having some sort of change or drop out of that section would make a huge difference. I was personally fine with the piano sounds as is, but they might be a little fakey for some of the other judges, I'm curious what they will think. For me this is close, but the plodding and the repetitive background are not doing it for me. Good luck! NO (resubmit)
  4. ReMixer name: ZiSotto Real Name: Zack Sottolano Website: https://www.youtube.com/c/zacksottolano https://soundcloud.com/zack-sottolano https://twitter.com/ZackSottolano https://www.instagram.com/zsottolano/ https://www.patreon.com/zacksottolano https://open.spotify.com/artist/2tat9MZnRP8BZIHiYiR4Td UserID: 14501 Name of Game Arranged: Final Fantasy 8 Name of My Arrangement: "Wanderlust" Name of Song Arranged: "Blue Fields" Composer: Nobuo Uematsu Link to Original Track ReMixed: https://www.youtube.com/watch?v=RNdGoENQNQ4 Comments: Blue Fields. Who could forget this memorable melody sparking you to action as you first exit Balamb Garden with Squall & Co? This is one of those songs that is permanently etched into my brain due to the countless hours spent grinding on the world map. This whole soundtrack is one of Uematsu's best imo, but I always liked the sense of mystery and comfort in the repetition of the notes this particular song evoked. I figured the best way to get it out of my head would be to create my own unique interpretation. I present to you "Wanderlust". This is a wistful piano-centric orchestral arrangement I composed of the song "Blue Fields" from Final Fantasy 8, originally written by my favorite composer Nobuo Uematsu. Blue Fields can be heard anytime you are traversing about the world map, and is instantly recognizable, catchy, and just gets you in the mood to jaunt about, explore and adventure around the captivating world of FF8. The version used in the game is much more up-tempo and has a march-like cadence to it. For my re-interpretation, I wanted to keep with the piano theme, and slow it down into a plodding, gently developing, brooding, contemplative, and introspective piece. To do this, I first recorded the piano part with light reverb. After that, I duplicated the piano part so it plays twice in succession, as the song itself is fairly short, and I wanted enough time to experiment with it. I wanted to have 2 different variations of the theme to keep it evolving, so for the first part, I focused on orchestral arrangements with countermelodies and soft ambiance. For the second play through, I stripped down some of the ambiance and created a 2nd piano part using a mellow grand piano preset on my Kawai ES7 digital piano and added delay and reverb effects. I then just improvised for about 2 hours with the song on a never-ending loop until I came up with something I liked as an accompaniment melody and laid that track down, which I think added a very ethereal, dreamy quality. I purposely didn’t follow the exact melody of the song for the second half with the improvised piano, and made it a bit more discordant and harsh. The song features 44 tracks, including 4 piano live recordings, violins, ambient textures, pizzicato style strings overlaid on the left hand of the piano to give it that poppy, airy sound like it has in the game…and mostly floaty soundscapes I created messing around with synths and using the wonderful creation engine that is Omnisphere Spectrasonics 2. Hope you enjoy!
  5. Definitely one of the less-mixed Zelda songs there, but it has a really nice melody, and I like the upbeat approach you took here. The bassline does some really nice work to fill out the soundscape as well, and I enjoyed how you worked the balance between the two. I felt like the structure of the mix gets very samey as it progresses. There's a lot of the same sounds and the source is followed pretty closely from start to finish. Some more variation into any and all of those aspects would help make the track a lot more interesting. I'm also not particular fan of the buzzy lead, especially because it is used for a majora-ty (tee hee) of the mix. Overall the various instruments are easy to hear, though I do think the buzzy lead adds a lot of mud to the track. The transition at ~1:05 is pretty sudden as well, some sort of lead-in would make it less jarring when the other instruments come in. I think you have a fantastic start here, but overall the track needs more variation to separate it more from the source and bump up the interest level. Hit up our WIP forums to get some more advice and I'd like to hear this again. NO (resubmit)
  6. Greetings!!!!!! Here is a link to my submission: Contact Information · lazerwoplh · Phillip Merriman · www.lazerwolph.com · 14338 Submission Information · The Legend Of Zelda: Majoras Mask · Dream Of Being A Zora · Zora Hall https://youtu.be/Ji3v_5hExcY So this is my first actual “remix”. I guess you could maaaaaybe consider my rendition of “At Zanarkand” for classical guitar a remix, but thats more of a cover, no? Ive been thinking about doing an actual remix for a while, ever since I submitted At Zanarkand a couple years ago, but never took the plunge. Then about a week ago, I randomly found the midi file for Zora Hall online, with just the chords and melody. I figured, “No transcription work to stop me from doing a remix now!” So I thought I’d plop it in to Cubase and see what happened. Whammo! I actually liked how it turned out! Now, the REAL challenge: showing other people *GASP* Thanks for listening! -Phillip Merriman
  7. Whoa, was not expecting this sort of sound to fit the main theme, but it’s a super fun take that hits a lot of unique areas. I can see the source usage issue, but I feel the track makes a lot of turns back to the source and I would have no issue identifying it. I thought the ending was rather abrupt and anticlimactic. I wouldn’t mind it being as short as it is but even a small build to the ending would have been a nice touch. Regardless I think this gets the job done and has plenty of style to boot. YES Edit: also save the animals
  8. Nothing to add here, the gents have all mentioned the good stuff. There were a few sections that I wasn’t feeling the harmonic choices, specifically the ~2:00 section and right near the end, but I didn’t find them to be a deal breaker. Nice work, as per usual. YES
  9. I'm a little concerned about the direct sampling of the source at the beginning, though it doesn't last particularly long. Aside from that there isn't a ton to add that hasn't been mentioned already. The track definitely pumps, which is especially noticeable on headphones. There are a good number of breaks from that pumping though which is a good break for the ears. I'd have liked a little more variety in the main melody itself, but I do think there's enough structure changes to keep this interesting. Personally I'm not feeling the out of tune synth that's used, but it fits the feel of the song well and adds a frenetic frenzied feel to it. (alliteration ftw). Nice work overall. YES
  10. ReMixer name: prodigis Real name: Zach Email address: Website: https://www.youtube.com/channel/UCKJlafNdX5YcIPYnoMYltDg UserID: prodigis Name of Game: Pokemon Red/Blue/Yellow Name of Arrangement: Water Guns Are For Raves Name of songs Arranged: Cerulean City Original source: https://www.youtube.com/watch?v=xpPWNOhJtqs Remix: Comments: Hi there! This is my first submission to the site, which in fact I only recently learned about. I've been remixing each of the main themes from the original Gen1 Pokemon games in a different style. For this piece, Cerulean City, I chose Happy Hardcore, a somewhat trashy and over-saturated rave style that I felt matched well with the unrelenting cheese of the original theme. While this isn't my favorite genre, I am pleased with how its hallmark elements meshed with the source material. ----------------------
  11. Very creative approach here. I'm going to echo that the intro, while very nice, doesn't seem to connect super well with the rest of the track. The source is adapted pretty strongly, and while liberal, I do think that once the meat of the track starts it's there in enough of a capacity to be fine. I personally loved the 1:22 arrangement you did. I'm good to go on this one. YES
  12. Nothing to add that hasn't been said. The balance could have used some tweaking but it's not a deal breaker as is. I'd have liked some changeup on the rhythm guitars, they do start to get pretty repetitive before they drop out for a bit, then back to the same rhythm again. Mostly nitpicking here but something to consider for next time. YES
  13. Man, I still love the 1:01 section, it really tires everything together so well. Similarly I'd like to note that I never noticed the squish noises before and it was a nice touch. I can hear the issue with the saw bass and I think while it wouldn't hurt to bring it down a touch I didn't find it to be a deal breaker. The other parts are still clear and the energy is high. It's both kid and squid to me! YES
  14. Really nice rhythmic variation of the source. I love that people are still finding ways to arrange songs that have been done in what you think is every way possible. I want add bothered by the production by the gentlemen, but there were a couple areas where I thought the melody could have come through a tough stronger. The ending has been mentioned as well and I'm in agreement that it's pretty lackluster. Either way the arrangement carries the day, nice work! YES
  15. The source reminds me of the Mega Man X credits just based on the feel alone. Pretty fun source to work with, and I think the style your are going for works well. Once the guitar comes in there is a ton of mud here. Aside from the balance issue that MW mentioned I felt like there was a lot of buzz in my ears from the guitars. It's pretty distracting and also is constant through to the end, which fatigues the ears. Overall that needs to be toned down, and it wouldn't hurt to drop it out here and there. MW mentions the lack of source and I do have to agree with him. I'm not sure if it is a different source or some original, but it takes a long while to get back to the source you listened. If it's another source let us know! This needs some work but you have a good start here. NO (resubmit)