Emunator

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!)

What a delightful little track. I always loved the original Butter Building source, but the wind ensemble palette actually feels even more appropriate for the Kirby universe. It's light, airy, and bouncy, just like the titular puffball himself. There's plenty of expansion and recontextualizing of the source materia that gives this a unique compositional spin without ever really straying too far outside the bounds of Butter Building either. I know how hard your team worked on getting the performances, mixing, and mastering absolutely spotless, and the effort paid off in my opinion! YES (PS: Ridley was right, the original title was too dramatic, and this one is better!)

THIS IS FOR THE IWATA REMIX ALBUM BY TSori. This is being evaluated early to see if there's any fixes for the album. Your ReMixer name: Lucas Guimaraes Your real name: Lucas Guimaraes Your email address: Your website: https://twitter.com/Thirdkoopa - knew nothing better to link for this Your userid (number, not name) on our forums, found by viewing your forum profile: http://ocremix.org/community/profile/33965-thirdkoopa/ Name of game(s) arranged: Kirby's Adventure Name of arrangement: Parasol to the Stars Name of individual song(s) arranged: Butter Building CREDITS Band: Whispy Woodwinds Arrangement, Tenor Sax, Editing: Lucas Guimaraes Flute: Gamer of the Winds Clarinet: Steven Higbee Bassoon: Andrew Gossett Mix/Master: Ridley Snipes After MAGFest and seeing my friends The Game Brass perform a wicked set, I thought "Hmm, we could start a wind quartet? Maybe?". I pushed the idea over to Gregory Orosz (Gamer of the Winds) and we quickly got to work. We've had a few arrangements being shopped (All of which to come out in 2024!) but when the Iwata album came up, I knew I had to do something special. We already had Butter Building on our 2024 list, so wanted to debut the band with it - and it's a choice I'm glad we made. Much of the arrangement itself follows a story: A lot of hope with a hard journey halfway through, and then a more peaceful end to the stars. I initially had the idea of this mix being called "Building to the Heavens", in order to have that celebration of Iwata's career, but Trevor (Ridley Snipes) talked me out of it by saying it was a tad *too* dramatic. So I opted for "Parasol to the Stars", because even though there are melancholy moments (Iwata tribute album, I couldn't help it!), there's a lot that helps get to its big release. Feedback from both Hemophiliac and The Game Brass' own Thomas Kresge bring this to life. As for the artists ourselves, everyone contributed their A game. Gregory, Steven, and Andrew were a part of the editing process the whole way. They sent me amazing recordings that really brought this to life. I re-recorded the Tenor a couple of times - as some may know, I'm not the most experienced saxophone player, but I absolutely love playing it and have been grinding away. I proposed the idea to Trevor to mix this a few months before I gave him the files, and he was definitely interested. Once I edited all the recordings, I gave it to him and the rest was pretty smooth sailing. KestrelGirl helped point out a few details, but everyone *really* loved it. I needed to step away from it just to see how good it was, even my recording. I'm glad I did. Enjoy this journey to the stars.

I actually am hearing a fair amount of sidechain compression on the lead synth in here - especially the release tail on the lead synth, I can hear plenty of pumping. It's most prominent in the final chorus of the arrangement. I think it might just be a volume issue, like Chimpazilla said, and that the synth is occupying a similar frequency range to much of the other instrumentation. It could probably do with a little more sculpting and some volume drops on the lead. That said, there's a lot that IS working about this track. The sound choices are all cohesive and gel well together in a retro OCR fashion, but with a bit more body and depth than I would expect from something from that era. The piano adds a lovely throwback electronic character. The beats are meaty (protein-rich is something I've never heard used to describe drums before but am in LOVE with that turn of phrase). The overall mastering is beautiful, even despite the balance issues. I ultimately came out on the affirmative side on this vote, and honestly it wasn't even borderline for me. This is good stuff! YES

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

Previous Decision Contact Information Gario Gregory Nourse Your userid: 18482 Submission Information Final Fantasy 8 "Witch Hunter" Source(s): Man with the Machine Gun, Succession of Witches https://www.youtube.com/watch?v=EHl0ofVs2-0 https://www.youtube.com/watch?v=8BQw3qZ9H8A Comments: I bet you didn't expect a resubmission to come in thirteen years later! Always enjoyed this source, so when the opportunity came up to arrange this one for the FF8 album years back (before even the excellent DarkFlameWolf took control of the project) I jumped at the chance to give this another shot. While it's remade from the ground up, there is a lot of material from that old arrangement that I used to pull the track together (which folk can still listen to here, if they're curious: https://www.newgrounds.com/audio/listen/355474 ). I had the idea to blend the Succession of Witches themes and vocals to this source because the thought of Laguna huntin' witches is obviously cool (with vocals done with the program Alter/Ego), and got something pretty dang cool finished for the FF8 album. Hope folk enjoy it! Sources:

Well, when you're right, you're right! This needed some tweaking. @Liontamer@prophetik music this one has been overhauled on the mixing and should sound a lot better now!

Stunning arrangement! If you told me this was a song from the actual Ori and the Blind Forest soundtrack, I probably wouldn't bat an eye. This is close to professional grade production and orchestration that exists in the same sonic realm as the original material, but distinguishes itself with the heightened focus on strings and a seamless fusion of multiple sources. The chromatic and untuned percussion propels the arrangement forward and is perfectly balanced. The only nits to be picked are the volume of the lead cello at 1:28, but aside from that? You nailed it. I suppose if you're going to commit to that many emojis in your submission letter, you gotta bring the heat to back it up YES

Ooohh, now THERE'S the bass! One of your most recent submissions felt sorely lacking in low end frequencies, so I'm happy to report that this nearly approaches "Oops, All Bass!" territory and really explores those sub frequencies more fully. You've got some seriously squelchy sounds going on. The sound design is off the charts. For as insane as your mix is, you manage the levels and balance quite well. Crazy stuff. This was clearly written to loop rather than end on its own, so I would have liked a stronger ending, but it is what it is. Let it fly! YES

Absolutely stunning expansion on a source that I actually happen to like a ton. Metroid Prime 3's soundtrack didn't resonate with me in the same way as the first two, but this is definitely a standout, and your arrangement takes the atmosphere that was present in the original Skytown and takes it on a proper cinematic journey. The massive swell at the 2 minute mark, and the organic percussion loops that follow is easily a highlight for me. Psamathes vocals blend perfectly with the orchestral elements, feeling ethereal but not totally detached or formless. Live contributions from Harpsibored and CA also elevate this even further in my book. You did this one justice Zack! YES

This track is also going on the "I can do better on the mixing" pile, I forgot to mark it earlier but I will re-open this when it's ready! I'll also see if I can address the issues that Brad brought up too!

@DarkSim @Liontamer @Chimpazilla @prophetik music @MindWanderer Zack provided a newly mixed version, please check out this new version and adjust your votes as you see fit!

New version up! Zack wasn't able to find the original files so he did what he could on the mastering front. @DarkSim @Gario @XPRTNovice @Chimpazilla @prophetik music @MindWanderer @Liontamer - please review this and update votes as necessary! My vote flip technically closes this out but I'd like to leave it up for discussion before officially closing anything, in case there's something about the new master I'm overlooking!

Zack will be making updates to this one, please hold on any further votes for now!

Emailed Zack with feedback up to now - hold on anymore votes until we hear back!

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:

Old Version Link Contact Information: Your ReMixer Name: The Vodoú Queen (ft. Zack Parrish - [LEAD GUITAR & ACOUSTIC GUITAR], CNDR - [BASS GUITAR], TSori - [MUTED TRUMPET] & Gamer of the Winds - [SOPRANO SAX]) Your Real Name: Angélique Vodoú Your Email Address: Your Website: https://thevodouqueen.newgrounds.com/ Your User ID # on our forums: 37001 Submission Information: Name of Game(s) Arranged: Super Metroid (SNES) & Metroid Prime (GCN) Name of Arrangement: "Chozodynamic" Name of Individual Song(s) Arranged: Upper Brinstar ~ Overgrown with Green Vegetation; Lower Brinstar ~ Red Soil Swamp Area; Chozo Ruins (Main); Chozo Artifact Temple; Phendrana Drifts (Main); Phendrana Drifts (Depths); Hive Mecha / Incinerator Drone Boss Theme; Metroid Prime Title Theme; Metroid Prime Main Menu Select Theme; Chozo Artifact Acquisition Fanfare; Item Acquisition Fanfare; Theme of Samus Aran / Appearance Fanfare; Tallon IV Overworld (Main); Super Metroid Title Theme; Tallon IV Overworld (Depths) Additional information about game including composer, system, etc. (if it has not yet been added to the site): 1. METROID PRIME & FUSION ORIGINAL SOUNDTRACKS; Artist(s): Kenji Yamamoto & Kouichi Kyuma / Minako Hamano & Akira Fujiwara; Release Date: 18 June 2003 (JAPAN ONLY); Label: Scitron; Catalogue Number: SCDC-00276~7 2. SUPER METROID OST; Artist(s): Kenji Yamamoto & Minako Hamano; Release Date: 1994 / 2014; Label/Rip By: Datschge; Developer/Publisher: Intelligent Systems, Nintendo RD1 & Nintendo Link to the original soundtrack (if it is not one of the sound archives already available on the site): 1. https://metroid.fandom.com/wiki/Metroid_Prime_%26_Fusion_Original_Soundtracks 2. https://metroid.retropixel.net/games/metroid3/music/ Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: ...This was originally called "Chozo Funk"...and it rhymes with 'Daft Punk'. . . As such, this was made as a love letter to many things: one of my favorite Electro-Pop/House/Funk groups, a hero any girl should aspire to be, a franchise that well-shaped my early years, and a man who pulled a video game empire from the brink of collapse. This remix was made from the bones and strands of an earlier project from an old compo (both of which are sadly going away / getting decommissioned come the end of this year, as it currently stands ), but its origins (with 'Chozo Artifact Temple' acting as the main base of the arrangement) helped to shape what is honestly a remix that is held dear to my heart, and every step in making it was an absolute joy I'll never forget. Way too much to be said for the process, but the TL;DR of it is it's heavily inspired by Daft Punk (particularly the songs from their earlier bits of discography, such as Discovery, Homework and Human After All) and if you're an avid listener of theirs, the parallels and motifs were lovingly placed there--with a bit of ol' wildin' wah/whammy a la Jimi Hendrix (courtesy of Zack) stirred into the soup pot. And there's plenty of Metroid Easter Eggs galore, with many of the bells, whistles and cherries on top taken straight from the mood-setting, soundscaping and SFX-stylings made famous from the franchise (ex: the snare lick *pops* and much of the underlying drumline are taken from/inspired by the background sounds from Chozo Ruins!) See if you can find them all! ;3 As I have said in the Iwata Project Workshop on Discord--and I'll say as much here again--everyone who has contributed to this has helped bring to light a dream come true for me. Since my earlier remixes years back, I had the chance and pleasure to only remix three Metroid songs, two for MnP Rounds 119 & 125 and one for PRC 432...and at that time long before I didn't have the skill nor connections to truly give due justice to such legendary, timeless music from such a long-standing and prestigious video game franchise. I will probably re-visit them some day, but for now I tip my hat to my co-conspirators on this endeavour and their gracious charity and advice in producing this treat. I created it with a vast and deep respect for all Iwata had done for the resurgence of Metroid (and Nintendo as a whole), and for the first ever heroine I admired as a kid, Samus Aran. Enjoy, peeps. Hope the funky vibes are groovy with you. See You Next Mission! (**NOTE: For what it's worth, here's two honorable mentions of songs from the Prime OST that inspired certain parts, textures and moods, but were not directly included in the structural arrangement. In hindsight, I wish I did throw them into some of the (robotic) choir lines...but maybe one day when I become a part-writing maestro . . . On a technicality, they do share some writing and leitmotifs with Chozo Artifact Temple, but I'm leaning on the side of caution and letting others make the judgement if they appear in the remix: Phendrana Drifts Chozo Temple & Chozo Ruins Temple). EDIT (12/21): **ADDENDUM** pitch issues, as indicated by MindWanderer & guitar incorrect note on Brinstar run, as mentioned by Prophetik, has been fixed Sources: [Emunator Note] They're linked above, this would be a mess if I embedded all 26. But the primary sources I identified when listening, and I'm pretty sure push this above 50% source usage on its own, are embedded below. TL;DR - this thing is crawling with source usage, no concerns from me there!

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:

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

Wow, the orchestral and percussive bones of this track are SOLID. Some truly cinematic-quality orchestration, and the percussive groove really gives a sense of movement to the arrangement. This really boils down to volume balancing for me, and it pains me to do this to such an amazing arrangement, but there were multiple points in time where I found myself startled by the volume of various elements, and not in a good way. The spoken word vocals specifically feel like you tried to crank them up loud because they were unintelligible, but really they just need more of the dry signal in the mix, as they're getting washed out in reverb. Similarly, the lead guitar solo and acoustic parts at the end are way too boosted compared to the backing instrumentation and are jarring to me on first listen. As someone who's also been accused (and not without cause) of putting too much distortion on my tracks, I took issue with the guitar and distorted elements around the 1 minute mark. In my view, the distortion itself isn't the issue, but the fact that many of the distorted elements are hard-panned or have an otherwise wide stereo spread, and there's not always a good balance in each ear of how much distortion is happening at any given time. This is where the physical discomfort is coming from - if you were to center those distorted elements or reduce the stereo width, at least both ears are being assaulted with crunch in relatively equal proportions. Ugh, this arrangement kicks all kinds of ass but especially on headphones, these issues feel quite evident and would be worth addressing before posting. I had a lot of visceral reactions to this track, but too many of them were of the "oww, my ears hurt" variety, which puts a damper on the reactions that were "damn, that was COOL!" If you can do things to mitigate those unintentional reactions, you'll be golden. EDIT 11/4/2023: This new version fixes all of the issues I had, it sounds SO much cleaner and well balanced in the stereo field and in terms of volume leveling. Cutting out the static cleans up the mix without losing any of the impact, and the vocals are much more audible! I think you course corrected too hard on the vocal levels after the 3 minute mark, those now sound TOO loud but it's the only gripe I have. This is clearly a pass for me now, thanks for the extra work Zack! YES

I approach repetition the same way I approach source usage - instead of timestamping, I typically opt for a "vibe check" to see if a track feels like it's dragging. I actually find myself in total agreement with DarkSim on that front - it feels like a missed opportunity to do something different and exciting to cap off the arrangement, but on the whole, you switch back and forth between the repeated passages frequently enough with enough variety interspersed that those loops don't feel that bad to me. Plus, it's a short enough arrangement so it doesn't drag on in terms of length. If this track went on even a few measures longer, we'd be treading into "too repetitive, plodding" territory, but for my tastes, you fell on the right side. It helps that the synth design is all very cohesive, the groove is infectious, and the production issues that were called out don't tremendously impact my listening experience. It's closer than I'd like, but what I'm hearing here works well! YES

@MindWanderer @prophetik music @Liontamer New version of this mix is up, with massive shoutouts to @Chimpazilla for working with me to clean up the mix and master and really get this to shine! Please check out the latest version and let me know if you hear anything weird

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!

Dammit, fine. I’m in for Team Metroid

I was wondering how long it'd be before this goofy niche meme genre made its way onto OCReMix! I'm fascinated by the recent explosion of phonk as a genre - it feels like a haphazard mashup of big room house and trap with the production quality of witch house, so nothing is REALLY that unconventional here that nobody has ever heard, but for some reason it almost immediately landed squarely in the category of "meme music." If I wasn't personally familiar with the phonk phenomenon, I wouldn't have even identified it as a unique genre at all. But y'all clearly found inspiration in this niche subgenre and, shitpost or not, did a really great job of translating Stone Tower Temple into this style, and even improving upon it in a lot of ways. It's short and doesn't really veer too far away from the source material, there's plenty of personalization that ensures this arrangement lands as a fully-realized idea and not just a 30 second TikTok shitpost that was lazily stretched to make it ready to cash in on those streaming royalties. I actually think that the production quality here does a good job embracing the quirks of phonk while making something that sounds like it was mixed and mastered by professionals. The textures are thick and rich, the bass is booming, and the distortion and compression feels clearly like a stylistic homage and not an oversight. I once again find myself diametrically opposed to Larry on the "too much distortion?" argument and will fight to the death on this point. Easy vote for me! YES