DragonAvenger

I almost always judge from oldest mix up in the queue. I find that to be the most fair.

I listened to this again, and I'm going to have to agree with them. With a source that is as ambient as this is, there really needs to be a solid connection, which the mix isn't achieving. It was a good listen, though, and I hope to hear some other arrangements from you in the future. NO

Vig pretty much hit this one on the head when he said the samples are killing it. There is some completely awesome arrangement going on, but it's hard to really appreciate with how it sounds right now. Better sounds really could help this out a ton. I am also not hearing much relating to either source in the intro, which is a little bit disappointing to have to go for 1:07 before I hear any 'mon. It seems like you're trying to do the whole "surprise" battle idea, which is nice, but even little riffs here and there would add more relevancy to the intro which right now seems a bit superfluous. I don't think the arrangement is cluttered, but I think maybe fiddling around with the balance on the instruments will help keep things clearer about what instruments are the focus. The mix is very complex, which is a lot of fun to listen to, but I would love to hear the sounds match the level that the arrangement has. NO (resubmit)

Remixers: halc, Protodome, Willrock Name Of Remix: Bullet For My Piloswine Game Remixed: Pokemon Gold and Silver, Pokemon Diamond and Pearl Sources Remixed: Route 225, Gold and Silver Staff Roll Sources: , http://www.youtube.com/watch?v=rHxy6XMN64QComments: Protodome: There was a remixer called Blake Who said: “In a collab I’ll partake!” It wasn’t long, Before Willrock made the song, And Blake and halc took a break. Willrock: What originally started as three Ended up near the end with just me Because halc and proto Got lost outside johto And left me with credits you see halc: arises a proposition to me to join a collab of three i made a few bloops and sliced a few loops and made my escape you see ------------------------------------ - Route 225http://www.youtube.com/watch?v=rHxy6XMN64Q&feature=player_embedded - End Credits The quote at the beginning.....is weird. I'm assuming it's from the anime. Plenty of good stuff going on here. The arrangement is thoughtful and energetic, goes through a variety of styles with nice transitions. Towards the end of the song I was finding the themes to be just a little repetitive, but it might also be a problem with multiple listens. The ending also isn't the strongest, but I am trying to be picky here. Sounds and balance are fine. Very obvious that you all played to your strengths, so no complaints there. Nice work. YES

Contact: - Name - Fugrooh - RL Name - Andrew Hargrave Submission Info: - Game - MegaMan X3 - Song - Blizzard Buffalo stage music - Comments: So, the Blizzard Buffalo music from his particular stage has always been a favorite of mine and I've thrown around the idea of remixing it to something more...heavy. Up until recently, I've unbelievably busy with life and just haven't had time to do much of any recording. The idea, however, was to make a seriously heavy remix of the music...and I'm pretty sure I achieved that. When I started this remix, I noticed two major things about the track itself: it's not long, and there isn't much change. So the challenge here was to make something longer than 1 minute, 30 seconds long...which is about the length of the original midi rip from the game. In the end, I'd say that managing to make a 5 minute long song is a huge victory. The arranging and drums took the most time to get any bit decent...but it looks good from my vantage point. I loved the whole process of doing this and might just do it with more VG music. ------------------------ Firstly, I'm noticing that while you expanded on the lenghth of the track, there isn't really much done to the source melody itself. I would like to see you fool around with changing the source around and using that as an expansion part along with stretching out the time. As it stands now, I am just hearing the source over a metal setting and the a more acoustic setting. Related to that, the transitions between the different sections are pretty weak. They are all pretty sudden, and need some work to flow better. The bell sound over the metal setting really isn't meshing well together. Aside from that, the reverb is not really balanced properly, so the bell sounds in a completely different setting then the rest of the instruments. During the metal sections everything is way overcompressed and generally very muddy. The acoustic setting is a lot better overall, and easily my favorite part of the mix. It's an interesting start and approach to the source, but this needs a lot of work. NO

Source as I heard it: 0:00-0:32 0:40-0:57 0:57-1:27 - fairly changed 1:27-1:44 - more fairly changed 1:44-1:55 2:00-2:32 3:12-3:45 Plenty of source in there, no qualms on not having enough. I had to think on this for a while and, at least for this track and the NiGHTS track, I've come to a conclusion. I feel like you get hung up and stick with using a part of the source that isn't necessarily something that should be held onto. In this case, the darker part of the source melody is used for over a minute in your mix. To me that part sounds like a transition in the original, and dragging it out in here makes things feel awkward. I'd suggest cutting out a good portion of that, and maybe if you still want to keep your variations in there using them elsewhere in the mix. Having 3 go-arounds of it (getting more varied as you go) just feels like too much, and it killed the flow for me. In terms of production, I have to say that I liked how you treated the piano and the drums especially. I felt they were very good for the style, and the writing on the piano at the end was nice. The left hand of the piano at the end felt a little mechanical, but it's not that noticeable. The rest of the sounds in the mix don't seem to be gelling as well as they should. I think some of it's balance, some of it's effects. Either way, it's not sounding as good as it can, or as good as it needs to be. Another thing that bugged me was that near the end the acoustic guitar is doubled and panned to either side. It sounds strangely unnatural this way, and I think you only need one background guitar, possibly slightly panned. Man, it's a start, and you're getting there, but you've got to get those production issues nailed out, and then hit up that arrangement a bit. Keep working on it! NO (resubmit)

Very little I can add to what OA said here. The arrangement is very creative, and you can tell there was a lot of work put into this, but it's connection to the source is just a little too tenuous. It doesn't help that the original is fairly ambient on it's own, so sometimes it's tough to really keep the source in there. I do like the little elements you added into the mix from the source, like the rising synth near the beginning. Those little touches are nice, and fun when you actually hear and recognize them. The sounds are a weakspot of the mix, especially the drums. The guitar bothered me, but not as much as it did OA though I can see what he's getting it. This would really sound better if those sounds could be upgraded. I will say that this had some good moments, and as I said, it's very obvious the amount of work that went into this. I think you can revisit the trouble sections and bring this up to speed! NO

I brought back my old signature just for this thread. =^.^=

I'm hearing it as 3/4 with the 'bell' part as a hemiola throughout. Still pretty awesome to combine 9/8 and 3/4 though.

Ah, good thread. I would suggest that Stevo add 6/8 into the 'common' time signatures category. Otherwise I will have a lot more to add! One of the reasons Final Fantasy Crystal Chronicles is pretty much my favorite soundtrack is because a few of the tracks are in odd time signatures, and a lot of the tracks change frequently. Here are just two: "Leaving the Body Freely" is in 7/8 with just a dash of 6/8 "Sleeping Treasures in the Sand" has alternating 7/8, 9/8, 7/8, 11/8 to a standard 7/8 And on another note, there is Chrono Cross's "Drowning Valley" which is in 5/8.

7 seconds to 2:53. Still pretty impressed by that. Fun lyrics really make this for me, along with the delivery. Nice work.

I agree that the melody of the source is very catchy; it's a lot of fun to listen to. I can see how you tried to approach this in your mix and there are some interesting elements going on here. The structure is expanded on by a lot, and there are lots of changes in the soundscape. I would have liked to hear more interpretation of the melody itself, and maybe a little more original parts/add-ons. By the end the repetition was a bit much, this could overall be shorter and have the same or a better effect. The fade-out ending is very weak, and very inconclusive, there definitely needs to be some work there. I need to comment that while you have a lot of different drum loops working in this mix, I feel like there isn't a lot of personalization to the drums. It seems like you set a loop, let it runs its course, and change it up. I'd like to see you fool around and have the drums really react and support or work with the music and themes, especially for a dnb track. The big issue overall is the sound quality. There were some spots that just really were not sounding good, mostly because of the sound choices, the volume, and the balance being not where it needs to be. I think you can work and improve this, but it has a lot of work that needs to be done. There is a start here, but right now it needs quite a bit of work before it is at our level. Please consider using our WIP forums to get some additional feedback after you rework this. NO

J-link Contact Information Your ReMixer name: Archangel Your real name: Jaka Čibej (That's a Slovenian male name, short for Jakob - just to avoid any sex-change stuff, that happens kind of often. XD ) Your email address: jaka (dot) cibej (at) gmail (dot) com Your website: http://www.reverbnation.com/jakacibejarchangel Your userid: 23355 (http://ocremix.org/forums/member.php?u=23355) Submission Information Name of game(s) arranged: Final Fantasy V Name of individual song(s) arranged: Lenna's Theme, Ahead On Our Way, The Dragon Spreads Its Wings Additional information about game including composer, system, etc. (if it has not yet been added to the site): Everything's on the site already, I suppose. Link to the original soundtrack (if it is not one of the sound archives already available on the site): Already available. Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: This is my second submission, let's CELEBRATE! The first one was an arrangement of the Final Fantasy Prelude, which is currently still in the judging process, but I reckon it won't be accepted as it is probably a bit to conservative for the tastes of the OCRemix primarchs. Thus, I decided to make another arrangement for my debut (although I'm participating in the Final Fantasy IX and Seiken Densetsu 3 projects too, so this medley might not turn out to be a debut after all). As far as the remix is concerned, I chose some of my favorite songs from Final Fantasy V. At the time I was watching HCBailly's playthrough show Let's Play Final Fantasy V on Youtube, and the feeling of nostalgia really pervaded me, so I guess you could say that was a source of inspiration. I made the arrangement in FL Studio 8, using EWQL Symphonic Orchestra, Symphonic Choirs, Stormdrum, RA, and some other plugins and soundfonts. I used a lot of exotic instruments (like shakuhachi, erhu, Irish low whistle, Uilleann pipes, duduk and so forth) to make the medley sound more - adventurous, I guess. It just seemed like the right choice. =) That's it, basically. By the time someone has read this, it will probably be 2011, so Happy New Year. XD Regards J. ----------------- - Lenna's Themehttp://www.youtube.com/watch?v=X181tQjGCLc - Ahead on Our Way http://www.youtube.com/watch?v=a8pHycJnoXg - The Dragon Spreads It's Wings Overall, I am loving this mix. The soundscape is very rich, and I like the Eastern flavoring that has been added to it. The songs are arranged very nicely, and each section plays well to the strengths of each source. I do have some issues with the transitions at around 1:00, 2:00, and 2:30 respectively. I felt like they lost of the flow of the song, which was a bit distracting to the overall piece. The transition at 1:00 is the biggest offender for me, I would say it would be the part I would like to see fixed the most out of any of the issues. I also didn't really like the piano from 2:07 to 2:31. It felt out of place, and a little overpowering. Perhaps bringing it down a little in volume would help that section, or changing the piano to something else. Even with the somewhat weak transitions, I felt this mix was very solid overall. YES

Silentis Silva Justin Woods Silentis.Silva@gmail.com No Website u=35473 Game Submitted: Kirby's Dreamland Piece Arranged: King Dedede's Theme Composer: HAL Laboratory, Inc. Original Piece: http://www.youtube.com/watch?v=QfhKljGSLdo Comments: I wanted to create a more contemplative approach to the usually upbeat theme. ------------------------ http://www.youtube.com/watch?v=upewIgRjCRY I like the mood you have to this, and I thought it was a creative way to approach this theme. That being said, I have some issues with the overall arrangement. Firstly, the background pattern is the same rhythm for the entire song. I was really hoping that there would be some change to really spice up the arrangement. It would be great if you could find some ways to flesh out the background more, rather than have the same rhythm which becomes pretty repetitive. I'm also noticing that the structure is pretty much a run through of the song (very coverish) twice, followed by a solo, and a return to the B part of the source before it closes out. There isn't enough interpretation here, and it basically becomes a cover. Look at ways to intermingle more of your original writing with the source so that it doesn't feel clear cut source|original|source. Throughout the recording I keep hearing a weird sound, like something rubbing on something or a strange buzz. If it's possible, finding that sound and eliminating it would be great. I like the style, but the arrangement needs an overhaul. Please keep at it, and I'd like to hear you rework this! NO (resubmit)

First, some disclaimers: If the attachment doesn't work, the recording is also hosted here: The original title I decided on goes by the classical tradition of naming piano concerti: Piano Concerto No. 1 in B Minor, "Pokémon", but I don't know if that's "original" enough for the website's standards. Therefore, I offer an alternative if the judges prefer a more colorful title: PIANIST wants to fight! Also, it may be worth mentioning that this project was conceived separately from, and is not meant to complement nor rival, the Pokémon: The Missingno Tracks project or any other project. Now, my information - ReMixer name: Skye van Duuren (Real name is the same) Email: lordskyeiii@gmail.com Userid: 35247 Game arranged: Pokémon Red/Blue/Yellow Tracks arranged: Trainer Battle, Route 24 (Game is already added to OCR's archive) Comments: I always liked the Pokémon RBY music. It seemed to me that the sounds produced by the GameBoy didn't do it justice. In fact, I wondered how it would sound when translated to the extreme opposite end of the instrumentation spectrum: a full orchestra. As a composer just beginning to write for this intimidating ensemble, I thought arranging something as my first full-scale project would be easier than worrying about composing as well. So marrying the two (my fondness for the Pokémon music and wanting to arrange for orchestra) was the logical next step. I'm not sure why I added the piano, though... I've just been fascinated with concerti recently. So the arrangement uses the source material in the setting of a single-movement piano concerto, with the cadenza unconventionally at the start of the piece. Oh, and there are a couple special guests that you wouldn't find in a symphony orchestra; I figured they would help to drive the mix. ------------------------------------- - Trainer Battle - Route 24

Project track, for BadAss: The Boss Themes Project Remixer name: Skummel Maske Real name: Thomas Bullock Email address: kordeth@hotmail.com Website: http://skummel.anticode-media.net Userid: 21629 Other remixers involved: pu_freak (piano and harp) Remix title: All Existence Denied: The Extreme Game: Final Fantasy VIII Track: The Extreme Original track for reference: http://www.youtube.com/watch?v=01mxuw31GVs So, I first started out on this arrangement back in late 2007. I had the basic structure lying around for about a year and a half while working on other mixes, which in retrospect was a brilliant idea. I churned out some tracks of lesser quality while learning the ropes before I came back to this one. I participated in Dwelling of Duels with an early (rough) version of this track. When the boss themes project came around, I figured I could finish this track for it, and I even found pu_freak who did my piano parts live, taking the mix to a whole new level! //Thomas B --------------------------- I think you had a good approach to this song by putting it into the style you are going for, but there are a few issues in terms of arrangement and style that are holding this back. First off, the beginning up to around 2:30 is pretty coverish; I could honestly get the same effect out of the mix if that part was taken out or shortened. The whispered quote was not my favorite thing, but I think it works in this context. When you start the guitar solo and go from there is when we get to hear some good stuff out of you, and I'd love you to take that section and expand that treatment to the other sections as well. Some of the transitions are pretty weak, especially the one at 2:05. When you start your solo, I'm noticing that while you're a good player, things seem out of time. I think the backing track is really emphasizing that, which is making things seem more out of time then they really are. It definitely sounds like you are pushing yourself, which is good, but it would be good to alter that section a little to have the background support you more rather than the opposite. I'm not totally digging the synths in this. They aren't much better than the original, and that is going back to 2000 or so. You could really get a lot more out of this track with some better samples, and I would encourage you to do so. Right now these just aren't cutting it. You've got a good start here, and there is some work to go, but I would like to hear this again. I think the arrangement is the biggest issue, but the sounds are also an important change. NO (resubmit)

Hey Guys, My name is Scott Buckley, a composer based in Brisbane Australia. I’m a first-time submitter, but I’ve been a big fan of OCREMIX for quite some time. Keep up the good work! Submission Details – Remixer Name: I would probably prefer to be called by my real name – Scott Buckley - but my forum username is musicbyscottb. Email: scott@scottbuckley.com.au Web: www.scottbuckley.com.au Name of game arranged: Oblivion (Bethesda Softworks) Name of Individual Song arranged: Reign of the Septims (Main title theme) Original Composer: Jeremy Soule, of course. Name of my arrangement: Rise of an Emperor Download Link: Comments: I became a big fan of OCREMIX when I found out Jeremy Soule created a remix for the site a few years back, and in his honour I give you my first OC mix - an arrangement of the Oblivion’s main theme (or Morrowind if you are a purist). It gets big and burly, and features my own theme in the middle; my personal thematic addition to the Elder Scrolls universe. But let it be known; Jeremy Soule owns us all. Thanks guys – let me know how you get on, or if you have issues pulling down the mp3. Cheers, Scott Buckley www.scottbuckley.com.au --------------------------- http://www.youtube.com/watch?v=V3EOibiVzq4 This is awesome awesome awesome! Except there isn't enough source. We timestamped it out to be about 1:45 of source out of the 4:22 total time. If you could get some more of the source in there, this would have no problem passing in our books. 0:00-0:17 0:34-1:04 1:22-1:37 2:42-2:58 2:58-3:14 3:15-3:46 Please revisit this! NO (resubmit) Andrew + Deia

Remixer name: ViRiX real name: David Mckee email: dtron@sbcglobal.net Remix Song name: Metalic Gear Original song name: Metal Gear Solid 4 Theme Game: Metal Gear Solid 4 Original song Comments: A friend wanted me to create this remix and I thought it was a great song so I did. I created this from scratch in FL Studio with some other plugins. ------------------------------------------------------------- -David McKee- Student of Cuyahoga Community College (Tri-C) Freelance music producer and sound designer InternetAliases: Dreamcube016/017/018, DC17, D-Tron, race1, LightRace, Positron-X SecondLife name: Zeenith Paulse, Rheaya ------------------------ For the most part I liked what you did with the original. Speeding things up overall was interesting, and gave the piece a lot of energy, but I feel like at times things felt a little rushed. I don't know if slowing it down a little would be a compromise, or if it would lose too much energy, but it might be worth trying out. The ending overall is weak, and definitely could use some fixing up. The overall samples aren't all that great, but I think for the most part how you use them generally hides the weaknesses. The drums aren't doing it for me, however. The bass drum needs some oomph, and maybe a little bit more crack on the snare. There are times where the strings aren't cutting it, especially their solo section at 1:55. The low notes aren't cutting through, and the quality isn't that great. I'd say getting these improvements in will help the track a lot. It's a great start, and I think it's fairly on it's way, but it needs the fixes to get through. NO (resubmit)

Contact Information IceSecam Sam OULBI thequietone@hotmail.fr http://www.myspace.com/icesecam icesecam Submission Information F-Zero SNES 1990,1991 by Nintendo Records, Title Screen Naoto Ishida, Yumiko Kametani Comments : I have played F-zero recently on snes with my nephew and then all the nostalgia came back. I always loved this peacefull chilling song when the "game over" screen comes out, i could listen to this song for hours. That's how the idea of remixing it came. Mixing those chords with my favorite genre "Drum&Bass - Jungle" made me think to an other song of F-Zero GX that i loved "Vegas Palace" that's how i had this inspiration on 1:39. For the " Select screen opening theme" i added extra arrangement especially on the piano background which is by the way inspirated by FFXIII song "Sullya Springs". That was 2 weeks of work especially for the drum. I am sorry for my bad english. I am from France. Cordialy, Sam ---------------------- http://www.youtube.com/watch?v=weA_E4fE_fA&feature=related http://www.youtube.com/watch?v=AphJthe1NRI I'm going to start by saying that I really liked this sound. It was pretty cool to see what was done to the original to expand on it. That being said, I think the song ends up going on for too long. There were a lot of good ideas used overall, but for the last minute and a half the piece strays too far from the source. The mix could probably achieve the same effect to me if about a minute was taken out of it, and if after the very liberal source section there was a return to the source before the end. I'd love to hear this altered and sent in again! NO (resubmit)

Contact Information ReMixer Names: TenchuX & HoboKa Real Names: Christoph Vand* & Alex Shtokalko Email: TenchuXmusic@gmail.com Website: youtube.com/tenchuxmusic – N/A for HoboKa TenchuX: http://ocremix.org/forums/member.php?u=5751 User ID: 5751 HoboKa: http://ocremix.org/forums/member.php?u=16277 User ID: 16277 * Christoph Vand is based on my real name. I keep my true one private online for personal reasons. Submission Information Game: Donkey Kong Country Song Arranged: Life in the Mines Source Material Link: http://www.youtube.com/watch?v=xZwrx4eMLr8 Remix Name: Mine Shaft Escapades IMPORTANT: If you hear a weird click/static at the start of or during the song – it’s not really there – please download manually and listen in a player such as Winamp if you have this issue. Song Background and Description Work on this song began in December of 2008. HoboKa was the composer of the initial draft and then I took over from there. The best way to describe the collaboration would be that HoboKa built a house on his own and then I came in and remodeled/added/subtracted onto the house on my own. This worked out really well for us and we hope it shows. I'm not sure about HoboKa, but it's been over 6 1/2 years since I last submitted a song to OCRemix. Hopefully the time and patience has paid off. This song was almost submitted at the beginning of April. Some changes since then include lowering the rising string fx volumes during the intro buildup. Some synths were faded to lower volumes to help bring out other sounds as well. Velocities were fluctuated further with the intro flute heard in the left ear in an effort to humanize the sound. The low freq/bass/drums have been beefed up a bit (though this isn't intended be a bass heavy song overall). Added a string section towards the left ear at 3:06-3:35 that hits a segment of source that was originally missed, thus making all major source hit throughout the song. It also makes that section more unique. Double tracked the lead electric guitar at the end of the climax (intentionally and coincidentally increasing the volume) which lets it stand out more, plus some other small things here and there. As stated, practically every bit of source from the original song has been utilized in the creation of this song. No “thematic” section repeats exactly the same. There's also lots of neat stuff going on; so if you listen to the song a few times over you may hear something in the background that you didn't notice before. The song is constantly morphing to reflect what’s “going on.” Going on you may wonder? That would be a tumultuous journey through a mine shaft by our two primate pals. The goal was to make the song a visually imaginative experience just as much as a musical one. Below the song is chronicled into what each part represents “visually” and musically. In fact when you hear the song I highly recommend thinking of what each passage is trying to depict. As such, I’d suggest listening to the song once before reading the following because perhaps your own journey through the mine shaft may be different. 0:00 – 1:05 It starts off quite ambient with a sense of ambiguity and discovery. There are water drops and some squeaks to give you the sense that you’re in a dark and damp mine shaft. I want you to picture DK and Diddy walking inside of the mine. It’s just them right now, tip-toeing about (emphasized by the pizzicato strings). 1:06 – 1:35 The song then goes into suspenseful buildup. The droplet splashes, clicks, thuds, and monkey calls during this part of the song pay homage to David Wise's unique use of these said sounds in the original song. There are four string “fx” rises in a row. During the beginning of the original song there are also four strait string/pad rises. The string “fx” play more of a background role until the fourth one for blending reasons. As it reaches the end it seems like something isn’t quite right. They’ve been spotted! Loud primate scream! 1:36 – 2:08 A triumphant gallop starts going into full swing. The descending left strings and center horn try to depict the tragedy of this dire situation as DK and Diddy try their best to get out of the mine and away from danger. 2:09 – 2:13 Uh oh! DK and Diddy ran down the dark tunnel… and right into a group of Kremlings! This is highlighted by the volume change. 2:14 – 2:47 This heavily synth based segment of the song was done in a way reflect the industrial and environmentally befouling nature of the Kremlings. Metallic, dark, and dirty seemed to speak well to that. 2:48 – 3:05 DK and Diddy have managed to get past the group of Kremlings... they see sunlight! The end is in sight! The choir is used here to represent the sunlight. Kind of an “awe” moment. 3:06 – 3:35 DK and Diddy are running as fast as they can while jumping on every baddie that’s getting in their way as they run towards the light. The melody with the slow rising strings (shifted towards the left ear) is based on the strings used in the original song. 3:36 – 4:05 DK and Diddy are still running and the light is getting even brighter. The electric guitar and backing piano are used to help make this climax have an epic feel. *CRASH* 4:06 – 4:52 The guitar stretches into the ending to symbolize our two primates leaping out of the mine shaft. The choir, woodwinds, and strings help to create a bittersweet tone. The choir is again symbolizing “life” through sunlight. However, what’s this? You hear birds chirping happily! I leave it to the listener to decide if what DK and Diddy found outside the mine shaft was good or bad. I think the final note gives the answer though. Anyhow, we’re hoping to finally give OCRemix its first posted Life in the Mines remix (as there are none at the time of this mail). Thanks for reading this and we hope you enjoyed the song and the journey! TenchuX & HoboKa ---------------------------

Hello, Title of remix: Blown Mind Bolero ReMixer name: AlteredBeats Real name: Anders Holmdahl Website: none Userid: 32345 Game arranged: Mega Man 9 Song arranged: Thunder Tornado (Tornado Man Stage) Composer: Ippo Yamada (?) System: Xbox (XBLA), Playstation Network, WiiWare Original song: Comments: This is my first remix submitted to you guys. I've been wanting to do something for a while now and this song seemed like a good choice for several reasons. First and foremost, I just love the original; it's probably the best song from MM9, which by the way has awesome music overall. Second, it seemed to fit the style I wanted to achieve, and lastly MM9 has, to my knowledged, never been remixed on the site. My interpretation is basically a progressive metal-type mix, the instrumentation is inspired by Dream Theater and others. I used an old 6-string Jackson in baritone tuning for the rhythm guitars and regular tuned Fender and Jackson for lead parts/embellishments. Drums are Superior Drummer and bass is recorded on a Line 6 bass. Various synths and sampled sounds. I even fooled around with my iPhone and the improvised lead in the middle is recorded using the ThumbJam app straight into Logic with a few effects. I hope you enjoy my humble contribution. Anders ---------------------------- I really like how you treated the source for this. It makes a nice transition to rock, and there is definitely a lot of energy in this arrangement. There are a few times when I wish you'd taken a little more liberty with the source melody itself (an example being when you pretty much repeat through the source again the second time at 1:17 through before the solo), or had overall more arrangement and variation. I think the big thing holding this track back is the repetition. The very brief piano breakdown was a nice touch, and I wish it had stayed a little longer before going back to the rock. The fade-out isn't the strongest ending, but I do think it works for what you are doing here. There is some nice use of panning at the beginning of the song, and throughout a lot of subtle use that really works well. I will say that on speakers especially the main parts are getting a little overpowered since the panning isn't as effective, so consider that in the future when you are mixing. The brass samples aren't the greatest, but they work for what you are doing. Aside from that I like the synth choices, and the rest of the instruments work well. I think that the arrangement needs more work, but right now it is skimming its way over the bar. In the future I hope you can really add in more in terms of variation to really bring the songs to life. YES

Nutritious always does a good job creating a good soundscape to and a great atmosphere for his music. Loved the overall mood of this one. Nice work.

Possible spoilers: This was the first game I personally remember having a boss with his own battle theme separate from the end boss. You knew that after getting through the floating continent and approaching this dude, and then hearing this music, that you were in for quite a fight. I loved the intensity throughout, along with the awesome riffs.

I thought that approaching this song from an industrial standpoint was an interesting idea, and there are some spots where it worked nicely. Arrangement-wise, I think there could have been a little more expansion on the source themes themselves, but I thought the structure was changed around, along with the style pretty well. I can't say the ending was working for me; it felt outside the scope of the rest of the track. That was my biggest gripe on that end of things. Unfortunately, with the main use of the chiptune sounds there isn't a way that this can pass here. This is pretty much a sound downgrade from the original, and while it works in the context you are personally going for, it does not hold up to our production standards. Personally I feel like the chiptunes kind of suck the power that this track could have. If you are up for changing the sounds around to rework this for the site, that would be cool, and I'd like to hear it then. NO (resubmit?)