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    Wes M.
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Emunator's Achievements

  1. Previous Decision Hi, thanks to sent this mail but I had already read it, i work on it, this is my last mix ready for a new submmit . Hi i want to send to summit this mix My name remixer : AdriánDBAremixes My real Name : Adrián Fernández Sanmiguel My Web Adress : https://deadbyaccident.bandcamp.com My user rid 38736-adriandbamixes Super Mario 64- Bowser Road
  2. cooliscool Jeremy Johnson https://soundcloud.com/jeremy-johnson-850853006 & https://soundcloud.com/jeremy-johnson-24 (I have no personal website) 38856 Metroid II - Return of Samus My World over world Theme Ryoji Yoshitomi, for Nintendo Gameboy, 1991 I wrote this quite by accident during an improv/practice session. The chord progression came about by intuition, and I realized quickly that it would represent a great version of this wonderful tune. It is sparse, but I think the elements are quite strong in harmony. Enjoy! I also have a 7 minute long extended version available. Sorry for being g negligent in reading and following the guidelines first. Thanks for your consideration!
  3. Josh Winiberg http://www.joshwiniberg.co.uk 38855 Final Fantasy X Zanarkand - Distant Worlds Piano Version Zanarkand Nobuo Uematsu This is a solo piano reimagining of the Distant Worlds orchestral arrangement of Zanarkand. As a result, the while the structure is significant different, much of the arrangement is draws from the Piano Collections version, until the new themes and counter melodies half way through are introduced with the keychange to Bm. This arrangement was released on the usual streaming platforms on 17th November 2023. Best, Josh
  4. Remixer: LXE Name: Alexis Gelinas Email: Website: instagram.com/lexadex_yo 38753 -- Super Mario World 2: Yoshi's Island Stroll in the Park Flower Garden I was learning about 7th chords in my piano lessons and was experimenting with the melody over these 7th chords and it sounded so nice and relaxing so I felt a lofi vibe would work great
  5. Previous Decision "Ok, here it is. Yes - it was exactly what one of the judges said it was. Let's just say this was one of the most embarrassing mistakes I've made as a producer." Original submission: Your ReMixer name: Parker Walker (I hope that my previous remixes' remixer name can be changed from SPIRAL_SYSTEM to Parker Walker, if not, then use SPIRAL_SYSTEM. Thanks!) Your real name Parker Walker Your email address Your website(s) https://www.youtube.com/channel/UCW1jycmYfDZYXPnL6W9DEtQ Your userid (number, not name) on our forums, found by viewing your forum profile: SPIRAL_SYSTEM Streets of Rage 2 Can't stop me! Go Straight For this mix, I took a more conservative approach, because all the elements of the original are very "90s". Hence, I kept the 90s feel, yet didn't go for a total FM sound like my other SOR2 remix because I think that, honestly, Yuzo did it the best on this one and I can't surpass him. Instead, I went for 90s house feel using 90s production techniques, arrangements and sounds. I even used the legendary JD-990 synthesizer (produced at the time) and samples from the TR 909 to give extra authenticity and 90s feel. All the bass sounds are from Chip MD, a Sega FM emulator. All in all, it's a re-imagining of what the song would have been using state of the art production techniques at the time, and a quite conservative homage on this classic v-game track. I hope the fans enjoy!
  6. I would disagree with MindWanderer that there's a lack of ideas here. There's a characteristic iterative buildup of layers that is a staple of house arrangements, which is what we see here, but within those bounds, there's actually a lot of good ideas flowing. The tropical house soundscape is pretty unique, especially when you consider the snowy source material, it's a great adaptive spin. There's lots of clever transitions going on here - I'm surprised no judge has called out the writing at 1:29, which was easily a track highlight for me. There's so much variety in the sounds you used that, even though the core 4-on-the-floor groove holds down the fort for nearly all of the track, it feels like things are always staying fresh. There are indeed some balance issues present in the overall mix. It sounds like you tried to get the kick drum to cut through by cranking the volume up really high, but you could also achieve a better balance overall by reducing the level of the kick and increasing the amount of sidechain compression that it's applying to other elements in your track. I would start by sidechaining the kick to the bass and background arpeggios first, but you should really be doing this to some degree to nearly all of your instrument chains. This is going to allow your kick to cut through when you need it to, but let the rest of your instruments cut through during the space between beats, and it's also going to give your track a much greater sense of groove. From there, once you clear up more space, review the relative levels of each of your instruments and make sure that your leads cut through when they're supposed to and lead the track, and your background instruments are present but not dominating. I also agree, those vox at :23 just sound cheap I generally liked the sounds used here, even if they weren't super realistic or high quality, but this stuck out like a sore thumb. The ending also feels like it fades out really abruptly, I'd give that a longer fadeout time and let the delays ring out for a bit. There's a bit of a "death by a thousand cuts" feeling with this vote, but honestly it's really close to where it needs to be. I think sidechaining will get you over the bar alone, but there's other areas for small improvements that will make this a much stronger product! Hope to see this one again soon NO (please resubmit!)
  7. Hi i want to send to summit this mix My name remixer : AdriánDBAremixes My real Name : Adrián Fernández Sanmiguel My Web Adress : My user rid 38736-adriandbamixes Super Mario 64- Bowser Road I am from Spain i do not speak english well this topic has been reviewed several times by Chris Roman (Hemophiliac),he help me to improve the mix , it dosn´t matter if i have to change anything to improve the mix, please tell me anything. Thanks
  8. Remixer: LXE Name: Alexis Gelinas Email: Website: 38753 -- Super Mario RPG Geno Hop Beware the Forest Mushrooms I used hammered dulcimer and recorders to create a medieval lofi hip hop song about traveling through some spooky woods. Hope ya dig this arrangement Source:
  9. Submission Details: Colin Sandquist www.colinsandquist.com Game: F Zero Music: Fire Field Looking For Work and Getting into the Video Game Industry. Best. Colin Sandquist: Game Developer + Graphic Artist + Music Composer and Performer Sandquist Games I Composer Site I Vimeo I Twitter I Soundcloud I Bandcamp Obersync I Swift Gorilla Thunder I Wakeraft I Music IMDB I Linkedin I Artstation Phone: TBD Email: Source:
  10. Contact Information Your ReMixer name: Mel Decision Your real name: Mel Choyce-Dwan Your email address: Your userid: 18632 Submission Information Name of game(s) arranged: Final Fantasy FVIII Name of arrangement: Net Fish and Chill Name of individual song(s) arranged: Fisherman's Horizon Your own comments about the mix: When approached to see if I was interested in participating in the last-minute bonus disc, I jumped at the chance. I wanted to rearrange something in a style I was comfortable with given the time crunch. I trawled through the OST, and when I realized Fisherman's Horizon already had a relaxed vibe, I knew that would be the one. Lofi felt like a good fit, and it's a genre I felt like I could pull off in the allotted time. Sax by Lucas (Thirdkoopa) and Bass Clarinet by GameroftheWinds really brought this to life! Credits Mel Decision: arrangement, production, mixing Lucas Guimaraes: tenor saxophone GameroftheWinds: bass clarinet
  11. Hey, director here - these were unfortunately tracks where a lossless version was not available, so that's why they were not included in the torrent!
  12. ReMixer Names: Ridley Snipes, Treyt Real Names: Trevor Burch, Trevor Tuls ID: 17937, 18602 Email: YT: https://www.youtube.com/@ridleysnipes Game: LOZ Majora's Mask Song: Stone Tower Temple Composer: Koji Kondo, presumably Arrangement Title: DRWNXD Last-minute spontaneous shitpost turned banger? Let's find out ¯\_(ツ)_/¯ So you may or may not have heard RAVE by Dxrk ダーク. This is just that, but Zelda. Phryigian cowbell phonk house nonsense crushed into oblivion. A polarizing genre perhaps, but 300+ million spotify plays says a lot. While initially just a dumb idea, it sort of became a personal production challenge learning how to crank out ridiculous loudness while still maintaining some semblance of dynamics. Takes a lot more than a clipper on the master if you want it done right, and there are plenty of artists that take the concept to an even further extreme (cough Kordhell). It could have been worse, sorry not sorry Hemo! I don't have too much else to say; the source is pretty simple and I wanted to keep this simple as well. Spooky, tribal, visceral. Props to Treyt for being so readily available and helping me crank this out in 8 days; he's a certified gamer. Cheers! something something Ben Drowned creepypasta
  13. This is an interesting case - I absolutely think the minimalist arrangement approach is valid, and there's some really cool synthetic textures at play. I love the sound design and palette that you've created here, but I'm identifying some balance issues that are a showstopper for me. The frequency balance is curious here. Chimpazilla correctly picked up that there's some inexplicable 20-30hz rumble but then almost never anything in the 30-60hz and very little going on from 60-100hz, so the low end feels almost completely ignored here. Conversely, there's resonant frequencies that build up heavily at specific points around the 400-800hz range that feel downright painful on headphones. This is compounded with the fact that many of the instruments are panned hard to the sides. There are definitely examples on OCR of ambient tracks with a better frequency balance out there that still feel minimalist, but still maintain a better balance in the frequency range. This can often be addressed at the arrangement level, simply by adding a sub/drone in the low end, or some backing pads/textures throughout the rest of the spectrum that hold a static note throughout certain sections and only exist to add back some frequencies in areas that are deficient. This will help prevent your most prominent instruments from feeling too sharp or painful on the ears and give them something to blend into. On a side note, the percussion also feels lifeless. There's not a lot of texture or nuance to it, and when it's this exposed and dry, you really notice the lack of velocity dynamics or round robin samples and every percussive hit sounds nearly identical and ultimately unrealistic. If you wanted to revisit this, I would encourage you to download a program like SPAN, which is a free frequency analyzer that helps you see the balance of your mix at different points. I'm certainly not saying every frequency band needs to be perfectly balanced with one another, but a visual reference can help you pick up on potential problems with an arrangement and guide you to possible solutions. NO
  14. Giving this one a listen too. I appreciated reading the artist's follow up email. I'm always scared to see an email that long in regards to a rejection, but I was pleasantly surprised to find that it was well-articulated and respectful, and ultimately gave helpful insight when evaluating this track. Based on the votes above, I was honestly expecting the instrument quality to be worse than it is. I think the issues with the track boil down more to mixing and balance issues, with many of your instruments competing in the same space, and some of your ensemble sounds are very thick and have longer releases, so they can muddy up the sound stage excessively. This is especially noticeable on the staccato strings and brass - I would wager that they would sound a lot better with a sample that has a tighter attack and release, and perhaps some surgical EQ to avoid frequency masking with other instruments. I also strongly agree that the keys, organ and synth parts are way too quiet relative to the orchestral instrumentation. There's also a solo flute that pops up at 1:28 and again at 6:19, among other points, that is literally barely audible. The brass and strings step all over the rest of your instrumentation in a way that feels unnecessary - I absolutely understand keeping the orchestral elements at the forefront of the mix, but you can still achieve this with some minor tweaks to the levels and avoid overwhelming everything else you've got going on. If there's any reason I would outright reject this, it would solely be because of balancing issues. I think the repetitiveness in the arrangement and actual sample quality/realism in sequencing are worth noting but not dealbreakers in my book. As of now, I'm squarely on the fence about whether the smaller gripes are enough, when combined with the more significant mixing and balance issues, is enough to warrant a resubmission or not. I think DJP put it best - if the artist is willing to rework this, I think there's a much stronger version of this track out there, but there's so much good going for it even its current state that I'm inclined to agree that it's just barely over the bar. Going to think on this for a while longer, but ultimately, there's definitely actionable feedback to be found in these votes that wouldn't compromise the artist's vision or conflict with any of the things mentioned in the artist's email. I think solely addressing the volume levels by raising the keys/leads/flute and lowering the brass/strings, without any other surgical mixing, arrangement, or sequencing edits, would be enough to push this confidently into YES territory, but right now... YES (very borderline)
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