Emunator   Judges ⚖️

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

It's been a long while since I've composed an orchestrated song. It was a blast working with such talented musicians! The goal for this piece was to start of "curious", to build up to more of a rock/metal theme and to hit three major pieces from Dragon Warrior. I played around with some of the other songs, but these fit really well. I did some rearranging for Overworld, but tried to keep the melody very close to the original. For Tantegel Castle, I followed the cover very closely but used a Trumpet/Trombone duet to give it a very live feel. The third song (Fight/Battle/etc), I wrote a very very abstract cover of this to fit the key, and then try to overlay the Overworld melody on top (in order to tie it to the other songs). I combined parts of the other songs together in a few places as well - the string transition in the first rock section uses the Tantegel Castle's ending part (subtle, but that's what was used) and the ending rock theme, I use a lot of different parts combined. I originally started off thinking I was going to use some of the other songs as well, but I wanted to keep the length of the song at a nice size. I made some cuts (Tantegel Castle was originally longer, the Overworld had more piano, the guitar part was longer in the first rock section, I had an 8bit version of the Overworld that filled before Tantegel Castle) to keep it sounding fresh and to manage the energy of the piece appropriately. With regards to the genre choice, on the side I work with musicians doing a lot of different genres other than what you see on ocremix and animeremix. It's likely that I write more songs in these other genres, especially when I work with talented musicians. It was also nice to play my two trombones again for the first time in decades. Games & Sources: Project: Impact of Iwata (this is a project remix) Dragon Warrior Live performing parts: Cello: Chromatic Apparatus Violins: pointblanket (Violin 1 and Violin 2 + fills/sfx) Concert Flute: SableProvidence Dizi: SableProvidence Electric Guitar: Siolfor the Jackal (lead and rhythm) and Xaleph (simple chord fills/layering) Trumpet: Tsori Trombone: Xaleph

Arrangement, Mastering: Lucas Guimaraes Viola Performance, Mix: Andrew Steffen of ETHEReal String Orchestra If this gets approved and could be mixposted on Final Fantasy's birthday that'd be lovely, since this is for a Final Fantasy Viola Quartet album. Oh man, this is a fun one that has a whole story. It joins the same camp as Tyrano's Stash for a ReMix that wouldn't exist without another ReMix. In this case, it was Song of the Desperado that came in at the 11th hour for the Final Fantasy 8 album to beat the record of album with the most tracks. Basically, we needed a violist, and Andrew Steffen was happy to oblige. Andrew later on showed me some of his Viola Quartet tracks that he did. I really liked what I heard, and I asked him why he hadn't released them. His answer? Because they weren't an album. We kept joking about me finishing the whole thing, or at least he was - I took it at face value. A couple of months later I finished up 6 Final Fantasy Viola Quartet arrangements. He got to recording pretty quickly and the only thing that really halted the process was me being slow on finalizing album art (oops). So the music itself. I started this off in Sibelius. All I thought was "this is absolutely unplayable" and "there's no way this will end up sounding good". I wasn't particularly proud of it, but I knew there were some parts with potential. I was sick of hearing it and sent it off to Andrew, along with the other files. Him and I have a very collaborative process, so I trusted him in bringing the rest to life. The result? ...well, that's what you're hearing. A majestic take on a theme. Sometimes hearing my arrangements with different instruments really helps remember the potential in them. The amount of things that come together in this arrangement and performance really go above and beyond. Both the fast sections and adding more slow sections, similar to Song of the Desperado. Going for a Tango at about 2:04 was certainly an inspired choice, and one that I wasn't quite sure would work, but it got pulled off brilliantly. The slow push right back into the main theme as it begs you for more. 3:09 when the track pulls you into thinking it's ready to go back to the main theme, but it's not *quite* there yet, then the beautiful reprise at 3:40 to give the end some punch. This fits the chaos of a character like Gilgamesh. I might have stayed in slow land a little too long, but after 2 minutes of punching in the face, I consider it a good break As for the ReMix title, I went with this because Gilgamesh is waiting at big bridge behind the door. Nothing *too* fancy, haha. I hope you all enjoy!

ReMixer name: jnWake Name of game(s) arranged: Earthbound. Name of arrangement: Winters is Coming. Name of individual song(s) arranged: Snowman (https://ocremix.org/song/820/snowman) Even more from Dwelling of Duels! This one's from the 20th anniversary in September 2023. That one was a big month and this track placed 12/59, which is honestly pretty decent! Anyway, I'm gonna try to keep it brief this time. Unlike most of my remixes, this one wasn't born from an intention to remix. Instead, I was jamming on my keyboard and somehow came up with the somewhat unusual chord progression from the intro (FMaj7 - CMaj7x2 - GMaj7) and then. improvising over it, for some reason, I started playing the main melody from "Snowman". I thought it sounded pretty cool and archived that idea in my mind for a while. For DoD's 20th anniversary I was a little short on time so I decided to revive this idea and develop it further from my initial improvisation. Most of the track is built over doing fun chord/key variations over the source. I had a lot of fun building it so I hope you enjoy! Regarding source usage, the source "Snowman" (here: https://www.youtube.com/watch?v=niE24aTdtns ) has basically 2 main sections (A is from 00:00 to 00:32 and B from 00:33 to 1:07). During the remix I leave the main melodies almost unchanged but I move the chords a lot... Anyway, timestamp time! 0:00-0:30 - Original intro with the chord progression mentioned above. 0:30-0:57 - Melody from A on top of the melody, plus a transition also based on A. 0:58-1:29 - Based on B, piano does a variation of the main melody and the pads are based on the backing from B on the source track. 1:30-2:15 - Another variation of A, with a slightly different chord progression from the previous one. 2:17-2:47 - Piano solo! Nothing really based on the source here, except for the final quote of the solo. 2:48-3:14 - Melody from B over a very different chord progression. 3:15-3:41 - Sort of an original bridge I guess? Chord progression is a fun chromatic descent. 3:42-3:49 - This short synth run is based on part of B's melody (0:55 on the YT link). 3:50-4:05 - Ending of B, part just before the loop. 4:05-4:20 - Repeat of the intro, but it starts speeding up and has a big change as transition to final section. 4:21-end: - Yet another variation over A's melody, followed by a synth solo over the chord progression established in this section. Hope you enjoy! As a final note, this source is technically from MOTHER originally but I first heard it on Earthbound so I linked that game as main source.

Feedback has been shared with the artists!

Emailed Zach about this track to see if he's up to make some changes. For the record, I agree that the drone pad is probably a dealbreaker in terms of how much it muddies the soundscape, so hopefully he can adjust that!

@Chimpazilla You were right! Parker was able to get this resubmitted within an hour of reading the decision and it addresses my only beef (pun intended) with the first submission. So glad this didn't end up lingering in rejection purgatory over that. THERE'S THE BEEF!

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!

Really surprised to see a NO vote on a Mazedude track, so let's see what happened... I do hear what MindWanderer is saying, and could see how it would register as a personal annoyance, but after listening to this on repeat 2 or 3 times, it clearly feels like an intentional choice. I do wonder why it was mixed so far into the background, but the actual volume swells feel totally fine. That stylistic quibble aside, we've got some classic Mazedude tracker action and I'm totally here for it. Chris' submissions always introduce me to textures and sounds I've never heard before. The groove is trance-inducing, with a very expressive bassline against a hypnotic breakbeat/trip-hop rhythm that evolves just enough over the course of nearly 5 minutes to keep me enthralled the whole time. Send it! YES

Eino's music has always had that rough, garage band-y quality to it, and this is no exception. It's a thin line to straddle though, because it can easily fall on the side of "rough around the edges by design" and "unpolished and incomplete." In this case, I think the mixing issues could be forgiven if the arrangement was a little more fleshed out and ambitious, but as it stands, there's not a lot of dynamics within the arrangement, and it fizzles out right when it feels like things are about to pick up. I think this needs a ramp up in energy to drive this piece home - right now, it feels more like an unfocused jam session that isn't bringing a ton to the table. NO

I fall exactly in line with MindWanderer - there are a lot of elements in this track that, while not bad, are underwhelming individually and leave me feeling like this track has not had enough time to cook yet. The orchestration quality is serviceable, but there's a distinct lack of expression and dynamics across the board, so this feels more like a sketch than an actual performance. Even with a mellow, intimate orchestration, there's plenty of room for articulation and dynamic contrast that could be explored. The arrangement itself is short and doesn't really introduce a lot of new writing, so although the genre transformation is substantial in and of itself, the short arrangement also feels underdeveloped. Don't get me wrong - I actually love how this source sounds in this style, it's such an unexpected and clever twist that feels totally worth exploring. That said, this feels like a rough demo/sketch rather than a complete product, and your vision definitely has more room to be fully realized. NO (resubmit)

Sent current votes to Astral Tales, waiting on a response!

Contact Information: - ReMixer name: Xaleph - Real Name: Matthew Sabol - Email Address: - UserId: 458 Submission Information - Games: FF6 and FF8 - Arrangement Name: Terrastrial - Name of Individual Song(s) Arranged: FF6 Terra and FF8 Under Her Control Tags - Psytrance Summary I wrote this for a bonus track for the GSM Competition. I played around with it and it was pretty neat mashup combination. I turned the Terra theme into a diminished chord and took some of the "Under her Control" and created a rhythm from that. Beaker voice quotes so they're public domain. After seeing how some mixes used the Muu Dream Machine, and talking to some of the DJs, they were asking for a lead in or an outro to easily mix it. As a result, I tried to focus more on club based/progressive psytrance, which is why it ends in a simple beat (so it can be mixed in). Although I wrote this in a week, I did end up going back and making minor modifications. We need more Terra mixes anyways, so I figured this would help.

ReMixer Names: Ridley Snipes, Earth Kid ID: 17937, 16844 Email: YT: https://www.youtube.com/@ridleysnipes Game: Earthbound Song: Snowman Arrangement Title: Bonhomme de Neige What a beautiful piece of music Snowman is. It's also quite short and only uses 4 chords. And then there's me only using half of that. I don't know what possessed me to put this song in 4/4 but it just felt right. A lot of my musical ideas lately have been less about melodic development and much much more about capturing a vibe - just living in a moment of time. Why French? I'm not really sure either, but it works just as well under the "impressionist" umbrella haha. There's a little more source DNA if you put the supporting parts under a microscope, but I really just wanted to walk the core melody out into the cold sunset. The vocals make this track, in my opinion. All the sound design and engineering choices were based around the would-be vocalist and I'm so happy that I could have Natalya (Earth Kid) lend me her talent to really bring this home. I had her voice in mind from the beginning and she absolutely nailed it - exactly the vibe I wanted and a fitting mood for an emotional tribute. Cheers! RS Source:

Contact Information Hemophiliac feat. GameroftheWinds, TSori, Lucas Guimaraes, Travis Kindred Chris Roman https://www.youtube.com/channel/UC-MdciL6Adul7zWVA6zF8nw Your userid: 4838 Submission Information Wii Sports Sportsball Wii Sports Theme Composer: Kazumi Totaka, Console: Wii Link to the original soundtrack (if it is not one of the sound archives already available on the site) ***This is a project track for the Impact of Iwata project*** GameroftheWinds: https://ocremix.org/artist/16615/gamer-of-the-winds Flute TSori: https://ocremix.org/artist/16848/tsori Trumpet 1 and 2 Lucas Guimaraes: https://ocremix.org/artist/16119/lucas-guimaraes Tenor Sax 1 and 2 Travis Kindred: https://ocremix.org/artist/17322/travis-kindred Acoustic Bass So when the project launched, I looked at the listing of all of the chapters to see what I might be interested in tackling. I saw in the project thread for chapter 12: "Source: Any of the Wii system or DS system music. Wii sports is also eligible" TSori claims that they weren't trying to steer people towards Wii Sports with that sentence but I feel otherwise XD Anyways, the track started out with a big-band feel and whittled down to a smaller jazz combo with a bebop feel for the 1st half. This track would have not been possible without the tremendous contributions from the performers and features: GameroftheWinds on flute, TSori on trumpet 1 and 2, Lucas Guimaraes on tenor sax 1 and 2, and Travis Kindred on acoustic bass. Thank you very much for your contributions! The Wii Sports theme is very memorable and probably very well loved by many people. I hope I did it justice and people enjoy it! Breakdown: 0:00-0:08 Source intro 0:09-0:13 Original bridge 0:14-1:06 Source (A section) 1:07-1:11 Some jokes 1:12-1:31 Original B section 1:32-1:36 Source intro modified 1:37-1:59 Original C section (bridge) 2:00-2:53 Source (A section with more expansion and more parts playing) 2:54-3:04 Ending based on the source intro Thank you! -Hemo Comments from collaborators: From Lucas Guimaraes: "I always love playing sax, so when Hemophiliac needed a sax player, I gladly obliged. It took a few takes to get that sweet, sweet blending in there, but it was definitely worth it. Especially to improve my skills at playing quietly (one of my weak points, haha). He did a great job at encapsulating a lot of the chaotic nature of Wii Sports - a title innovative to this day for bringing motion control to large, and breaking people's TV's (https://youtu.be/D_uXEWKdsTY?si=B1hH_dm2fONU-2f9) Working with him on this track was definitely a pleasure, and I look forward to more with him (and Gamer of the Winds and TSori too!)" From Travis Kindred: "It was super fun to play and record for this track!" From TSori: "It's always nice to be asked to play in a collaboration, particularly when it comes with a chance to do something out of the ordinary. Chris' arrangement here had just the right amount of flash to make the track unique and yet still have a really familiar comfortable vibe to it. The trumpet part had that same kind of subtlety. While not overly demanding on the surface it had some detailed rhythmic and timbral attributes that made it both a challenge and a lot of fun to play. I really like how Chris brought all of it together in the mix and I'm thrilled to have gotten to contribute to such a fun track!

This is a fun little concept, I don't have much to add to the other votes other than a quick co-sign, but I did feel like I got something different than what I expected in terms of energy levels. It doesn't really ramp to full steam around 2:20, which is closer to what I thought the track was going to jump into right away after the intro, but what you've got here works too Voice acting and guitar performances were really tight, well done. Let's wrap this up! YES

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