DragonAvenger

I think you did a really cool job working this into an orchestral setting, but as Andrew mentioned, some of the production aspects are holding this back. I'd like you to polish up the balance between the instruments a little more, and make sure the all the parts are heard clearly. Personally I'm not a fan of the sound effects at the end, but I'm ok with it as an artistic choice. Wouldn't be sad to see them go, either. NO (resubmit)

Not my favorite song of that soundtrack, although it's not my least favorite either. I can say that you've added a lot of really cool subtle new expansions and details that I really like, and as the song culminates it gets better arrangement-wise. I felt like there was a balance issue when the trumpet first came in, and maybe overall the horn/trombone progression could come down a little after it establishes itself. I think the production is pretty good, but it's the little flaws that are adding up to make me think that it could really shine with a little more polish. Hope to see this again! NO (please resubmit)

Halc nailed this, really cool take on the source, but it's so sparse right now it's really hard to keep interest in it. Add more, make it fun! NO (resubmit!)

I think the actual arrangement itself is pretty good, but I can't say I'm a fan of all the sounds. The glitching was pretty fun, and used in a neat way. The arpeggios in the background start to wear after a while, consider dropping them out a little more often. The balance doesn't quite feel right, with some of the backing elements being too loud, bring those down a bit please. Overall I think it needs a little more finesse, but you've got a solid mix in the works. NO (resubmit)

Andrew has this one down; overall looking at the meat of the backing, things are coming up short. The track doesn't have a lot of arrangement to it, and while it's certainly not a rip, does feel a like it's sampled at times. The rhymes aren't bothering me as much, but I'm not as familiar in that area, so I'm willing to defer to people with more knowledge in that area. This definitely has promise though, hope you touch it up. NO (resubmit)

OA gave some great production advice to address the issues about the balance and sounds themselves, so there's little I can add to that. He also mentioned the arrangement itself, which (as you said) is pretty conservative with some original sections thrown in. I think you can do more to incorporate your original writing (which works very well with the source) together with the themes and get a good result. I'd like to see this one again. NO (resubmit)

It definitely feels like stuff isn't landing on the downbeat like it should be, which is a major detractor in this. I'd relook at the arrangement to make sure that your beat and melody are lining up in terms of measures, and go from there. Production is also an issue, namely sound quality, which is a bit of the nature of finale instruments. An upgrade would certainly help this, as well as some cleaning on the production overall. NO

You've got a pretty eclectic mix going on here, and overall I like it. Kind of ADD, but it works that way. Overall I'm going to have to agree with OA that there seems to be something missing. It might be the balance, or the lack of low end, but for now it's just feeling too sparse. NO (resubmit)

I see what Andrew is getting at, but it doesn't bother me that much. Overall I think this is a nice moody adaptation of an already moody source. The sounds are produced nicely, and the balance is good. I like it. YES

Agreeing with Andrew. The fixes are great here, and while everything isn't sounding super real, I think it works as a whole. YES

Not much to add to Andrew's vote that I can think of. It's obvious that there was a lot of thought put into this arrangement, and while it could have had some more dynamics and parts for the left hand, I think it does achieve its emotional goal. Nicely played. YES

Nope:

Yay birthday!

I definitely agree that you took a not terribly inspiring source and really moved it in a good direction, keeping a lot of the core elements in tact and functional. I'm not exactly feeling thrilled (as Andrew mentioned), so I'm not sure about the title choice, but I am enjoying listening to this. I think you could have done something to change up your soundscape towards the end to bring back the listener's focus, but that is mostly opinion. YES

Honestly little to add to what the gentlemen about have said. It's a cool approach to the source, and I really like it slowed down with the industrial beats. Overall things do feel a little cut and pasted later on, and overall there could have been more in terms of variation, but I think it still gets the job done in the end. YES

I paneled this because when I first listened to it, the source wasn't as apparent to me. Listening now, you've really worked this in cleverly. Nice work, production is awesome, and I love the bass. YES

I like this arrangement, I think you've taken the source (did you know the Lavos source has a cameo of The Day the World Revived if you go through the Black Omen to fight it?) in a really good direction, with a lot of emotional changes throughout. Sometimes the mix feels like it jumps around a bit too much, but that alone isn't a dealbreaker. Can't agree enough about the balance here. It's really hard to figure out what to focus on right now, with the way things are. Andrew also brings up some other important points, like the bass drum and rhythm guitar sounds. I think addressing the production especially will be a really good step for this. NO (resubmit)

Your Remixer Name: Tuberz McGee Real Name: Callum Kennedy Email Address: callum.kennedy@vodafone.co.nz User ID: 44165 Name of Games Arranged: Final Fantasy VI Name of Individual Songs Arranged: Shadow's Theme Comments about the Mix: I always thought Shadow was a cool character. I loved his theme too. I thought it sounded like a ballad that seemed to represent his being. I decided to turn it into a song about a bard singing about Shadow. Even adding my own little flair half way through. Haha This is my first mix, so I really wanted to get it right... but I haven't got all that much knowledge about recording yet. Haha ------------------------

Remixer name: Guifrog Real name: Guilherme Arcoverde... I think you turn green when you see it already, don't you? Anyways, I'm skipping the rest of my information ;P ------------- GAMES ARRANGED: 1) The Sims 1. Source: Main Theme - 2) The Sims 3. Source: Main Theme - REMIX DATA: Name: Musicolours Breakdown: Source 1 (The Sims 1) -> 0:08-0:48; and 4:18-4:34. Source 2 (The Sims 3) -> 1:03-2:24; 2:50-3:13; and 3:35-4:01. P.s.: Due to my intuition, I'm informing you guys that the 2:50-3:13 corresponds to 0:22-0:34 of source 2. Just tried to made it sound 'darker' on this part, and the mods from the WIP forum told me it's okay. That being said, I suppose the rest's easy to recognize. I'm so excited to send this, I couldn't wait. The huge amount of NO's I've already gotten, as far as I could see, were mostly due to issues on production. Then, a few months passed by, and I had a great idea for a remix. I couldn't help but immediately create the thing and post it on the workshop, just in order to make sure this would make it safely afterwards. I became so amazed when I saw the response - some minor tweaks here and there, and it would be ready. I'd like to thank Emunator and Level 99 for their great support, and finally provide you the (HUGE) backstory behind this track. BACKSTORY: I'm now treating instruments as people. They've got different genders: the ones that have a bass, heavier sound, I'm treating as "male"; the softer, high-pitched sounds are "female". That's how I feel it, but you can interpret in a way other than genders. It's musicolours after all, and it's about diversity of love. (with a lil' Irish touch, which is why I call it musicolo'U'rs) It opens with an harp. During the whole song, harp represents love itself; so, it starts things for an accordion (the male one) to take place, until it's followed by the flute (female one). If you pay attention, there's also the pizzicato/violins (female) that harmonize with bass/cello (male). There's mutual love between the instruments during the whole beginning, as they dance along with the flow. Highlight for the glockenspiel, by the way - it's a sweet, innocent child. But things actually turn to get interesting afterwards. The mellow and introspective song turns into a happy, open-hearted dance tune; bass (male) now totally follows the cello (male); the flutes (female) walk and dance on the floor, when suddenly, violins (female) follow them, until both harmonize together! Now you can see where the real colors of the song reside, as the harp (love) comes to celebrate the new pairs; still, you can see that kick (male) complements hihat (female), accordion and flute are still a pair, and the diversity is fully established. And then, piano introduces itself. I can't tell who he/she is, exactly. But, very often, the melody it plays consist of same notes in different octaves, which makes more pairs - high-pitched and low-pitched ones. This part is more melancholic, to symbolize the fact that, behind such a freedom in love, not everything's about flowers. There's always those who don't accept it, making a conflict to set up: groups of instruments get angry at other groups, and start fighting. Something like "Who plays louder? ME!" And the harp suffers. It tries to make it through, without success. Why is this happening? In real world, they give many reasons, but glockenspiel can't understand that. It was happily dancing with the pairs during the song, but after the timpani sets another mood it just asks "What? Why? How?". Piano has the obvious answer, something like "Sadly, it's just one from the many bad parts of our reality." And it begs for everyone to stop. A few other instruments follow it. Then the harp stands up, and blows up, and erases everything. After a moment, harp draws a new scenario. A very simple, comfortable and better one. And look, it's the glockenspiel again, jumping around like a little tweety bird! The perfect mood for everything to start again, happier than before. Tweety very much likes it, and as the song abruptly seems to end... ...The melody from the beginning. The accordion. And the... Cello?! Yup. As everyone's in piece now, one of the cellos finds it okay to dance a piece of semiclassical music with an accordion. And all the instruments, in every possible color, come to praise and finish the track. Including lil' glockenspiel. If only every single person was an instrument, and the human population was music, and things could be settled so easily like this... Well, I'm sure you guys get the message behind this track, but I need to take a position on it - most of the time, I feel like a lil' glockenspiel. Seriously ;P And I'm sorry for the loooooooong e-mail! My, it went longer than I thought...

Contact Information Your ReMixer name: Flexstyle Your real name: Michael Birch Your website: flexstylemusic.com Your userid: 22246 Game ReMixed: Wild ARMs - Battle M-Boss Title of ReMix: Priority Nemesis Source: http://www.youtube.com/watch?v=uzmeLVTwkJQ ***PROJECT MIX*** This is the first of a few tracks I did for the Wild ARMs project. It's a deep, dark, brutal drum'n'bass track, and I wanted to convey the panicked sense of urgency present in the original score. Kinda going for a Noisia-esque vibe. -Michael

Remixer name: cfx Real name: H. Arnold Jones Website: http://www.cfxmusic.com/ OCR Forum ID: 20414 Name of game arranged: Descent (1995, Parallax Software / Interplay) Name of song(s) arranged: - Callisto Tower Colony (Level 12: game12.mid) -- primary remix target - Briefing (briefing.mid) -- only briefly referenced - Descent Title Theme (descent.mid) -- only briefly referenced Track title: "Lost in the mines" Artists: Ken Allen, Brian Luzietti, Larry Peacock, Leslie Spitzer, Jim Torres, Tim Wiles (Not sure who composed what. As listed on http://www.mobygames.com/game/dos/descent/credits YouTube Renditions (recommended! -- OPL2 versions) Callisto Tower Colony (Level 12) http://www.youtube.com/watch?v=RVOBT2xyAOE Briefing http://www.youtube.com/watch?v=jAfb6Rit0vY Descent Title Theme http://www.youtube.com/watch?v=KwhDaESo9rk Commentary ---------- This is easily my biggest undertaking to date, in terms of project size, complexity, and length. It began as an experiment to show friends and ask 'hey, do you recognize this?' in part because a fair number of MIDI tracks of the early 1990's borrowed from popular artists like NIN and Metallica (DOOM, Descent, and probably others are guilty of this) and I wanted to make sure I was writing a remix that was 'written for the game' without additional complications. As with many things creative, projects often adopt a life of their own: before I knew it I was cranking out revision after revision, night after night, and showing more and more people. It's thanks to their encouragement that I continued creating and molding this track into its current form. Since 1994 I wanted to be part of the soundtracks of my favorite games (something which has not changed to this day). What HAS changed is my ability to do so, and create something that fans of the original tracks could appreciate -- and I could be sure I've created a solid tribute instead of a pile of garbage. It took many years for me to be confident enough in my abilities to satisfy all of the above, and I think the time has arrived. The tune herein lightly references the Briefing and Descent Title Themes (in the intro and outtro respectively) but is otherwise a heavy rearrangement of Callisto Tower Colony (Level 12). Level 21 has an extremely similar feel to Level 12, but it is certainly its own track, and I consistently referenced Level 12 while building this arrangement. I do not diverge much rhythmically in the supporting parts (aside from the actual rhythm section) and did not change melodic elements a great deal, but the arrangement and instrumentation should speak for itself.

contact info: melody peter kim www.youtube.com/xrisingforcex 29447 submission info: the legend of zelda: link's awakening link awakens in marin's house link: the inspiration for this one comes from link's solipsistic struggle while marooned on the alien island of koholint. i did my best to put myself in the shoes of a boy who desperately pushes forward in an effort to validate his experiences as true. note: the source is specifically "link awakens in marin's house," and not "koholint island." so yea, this is a remix of what is essentially a 10 second tune. feel free to keep the link up when it gets rejected -- transcript: fred dretske's "i think, i think, therefore i am" lecture: and the premise is clearly true, at least it is for everyone who thinks it's true. what reason do thinkers have for thinking they think? is it simply the fact that they think.. d.e. wittkower's readings of rené descartes' "meditations on first philosophy": i suppose, accordingly, that all the things which I see are false; fictitious. i believe that none of those objects which my fallacious memory represents ever existed; i suppose that i possess no senses; i believe that body, figure, extension, motion, and place are merely fictions of my mind. what is there, then, that can be esteemed true? perhaps this only, that there is absolutely nothing certain. --------------------- 0:12

ReMixer name - The n00b real name- Max V. Kravchenko email address- corp8@mail.ru userid - 32137 Submission Information: Seiken Densetsu 3 Project(if it matters:D) Title - "Dry Heart" link to remix - attached to letter Name of game arranged - Seiken Densetsu 3 System: SNES Name of individual song arranged - Harvest November Link to the original soundtrack - Hello! This remix has a long story.. Again.. In october-november 2010, I joined to this project. First wip was kinda KickAss metall, as Rozo said. And actually was suck. I made 3 or 4 way different remixes to this source and step by step, with giantic feedback help from The best Boss ever Rozovian, this remix was finished! Actually this one was an accident. I just sit down to my comp and wrote it. I never played piano or something, I have no keybord, that is why I love this remix more then any of mine. Once again.. Everything I learnd, improve or whatever, just because of Seiken Densetsu 3 Project and it's Boss Rozovian! Also special thanks to Meteo Xavier for advice about piano paning and to all ppl who helped me by feedback. Thank You! P.S. Sorry for my english, if I said something weird)

Submission Title (See Attached): Quicksander Genre: Dubstep Contact Information Remixer Name: A.COE Real Name: Alex Coe Website: http://www.acoemusic.net Submission Information Name of game arranged: Sonic & Knuckles Name of original song arranged: Sandopolis Zone Act 2 Additional Info About Game: (Already added to site) Link to Original Soundtrack: My Own Comments: Sonic 3 & Knuckles was the zenith of the Sonic Franchise. Sadly, the new games are frankly an embarrassment in comparison. Hopefully this bitchin' dubstep remix will serve as a fitting tribute to a masterpiece. Just doing my part to give the Sonic games of yesteryear the proper respect they deserve. The Sandopolis Zone (Act 2) music is a little unusual compared to other Sonic tracks, and allowed me to be very inventive while injecting a load of grit and filth. Here's to a level that caused many players a whole lot of grief.

Hi, I always wanted to cover a title from this game because it completely blew my mind when it came out in '91. I think the soundtrack was original and atmospheric, the composers had a lot more freedom than usual while writing this and it showed. Ranging from classical to jazzy, it conveyed a level of maturity to the whole game and in my opinion, blended perfectly with the mood of the serie. I decided to choose this one because it was overlooked by many and it had a dual quality which I liked. It felt like there was 2 part to this one.. a creepy and spooky first half and a more epic and engaging theme when the main melody kicks in. So after playing Lord of shadows, I was inspired to give this one a symphonic treatement. I used a lot of East/West stuff and a few others to give it more of an orchestral vibe. The only thing I regret with this approach is that I had to get rid of the awesome bassline of the original, it just didn't work with this. I know I emphasized a bit on the 'hero theme' for the better part of the arrangement (climax, ending segment). For some reason, I was always drawn back to it. I guess I liked the melody. Anyways, thanks for taking the time to review it, and I hope you guys will like it. Cheers! ReMixer name : Thunder Thouin real name : Yan Thouin website : http://www.youtube.com/user/ThunderThouin?feature=mhum userid : N/A Name of game(s) arranged : Super Castlevania 4 Name of individual song(s) arranged : Forest of Monsters Link to the original song :