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So, this pains me to do this, but I don't know if I can comfortably sign off on this. It's Jordan, so of course the production and concept is going to be ace - no disputing that. The middle eastern instrumentation sounds fantastic, and the sub bass especially is handled with care on the mixing side of things. This sounds beefy as hell on a sub and really showcases Jordan's mastery of the production game. I originally paneled this so I could do a manual source usage check, but the last minute of the track comfortably puts this over the 50% bar. However, therein lies my main issue - the source, while substantially represented throughout the track, is played out as identically with each repetition. The Underground melody is played out as a loop that's repeated multiple times, and the only variation I can pick up on is the filtering applied. To me, this feels too repetitive and and the presentation of the melody is very noticeably looped, especially during that last minute of the track. For that reason (and only that reason - everything else is extremely competently assembled) I'm struggling to justify a YES vote here. Curious to hear what the rest of the panel feels on this. NO

Been a while since I submitted something, Wanted to share this one because I feel the marriage of middle eastern instruments and the original source do magic together. This is an Arabian Trap remix of the cave theme from Super Mario Bros. 2 and was originally intended for NESterYears 2. I ended up scrapping that project and am pursuing SNESterYears instead. So in light of that, I wanted to submit this gem to OCReMix to celebrate that I am still remixing after 20 years. Cheers, Jordan

I mainly paneled this one due to source usage - it's going to take a bit of diving in to connect the dots on the source but sonically, I like what I'm hearing! This is quite a bit different than anything we've heard from DDRKirby before, but the sequencing is on-point with the acoustic instruments and the soundscape is full of lush texture. Arrangement-wise, this doesn't feel undercooked like we often find with chillhop arrangements, there's plenty of variation going on. The mastering/production is probably a bit loud and aggressive for the genre. Will come back to this one!

Contact Information =================== *Your ReMixer name: DDRKirby(ISQ) *Your real name: Timothy Wong *Your email address: *Your website: http://ddrkirby.com *Your userid (number, not name) on our forums, found by viewing your forum profile: 8933 Submission Information ====================== *Name of game(s) arranged: Diddy Kong Racing *Name of arrangement: Chill Beats to Race To *Name of individual song(s) arranged: Boss *Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: This one comes at the behest of Nicolas Daoust, who requested a remix of the Diddy Kong Racing boss challenge music through my Patreon (https://www.patreon.com/ddrkirbyisq). This genre might come a bit out of left-field for those who don't follow my work closely, but I've been dabbling in this sort of lo-fi/chillhop style for the past year or two. I'll have to once again shoutout One Hour Compos (https://compo.thasauce.net/compos/view/OHC) as that has provided me with the perfect avenue for regular musical experimentation, and allowed me to significantly expand my musical toolkit on multiple occasions. Almost all of the instrumentation used in this track consists of stuff that I've already tried out before in OHC...practice makes perfect! For this song in particular I wanted to contrast the high energy of the source track by dialing the tempo way down and enveloping everything in luscious reverb. It was an interesting challenge finding ways to slot the different melodies into a much slower groove, but I had fun with it, especially with the guzheng solo work (sample library courtesy of Impact Soundworks [https://impactsoundworks.com/product/plectra-series-5-guzheng/]). Hopefully you all enjoy it as well! --DDRKirby(ISQ)

Original decision Game: Duke Nukem 3D Title: Stalker Additional Info: Composed by Lee Jackson. Original soundtrack link: https://youtu.be/bLphA-MZvXg Arrangement Name: Stalker V2 [Factory Reset] Inspiration for my mix: Thank you for reviewing my first submission and I really appreciate the feedback you gave me. My goal with this mix and production was to take the original theme song and really attempt a big studio rock hit factory sound with a cinematic movie edge but keeping the same spirit of the original composition in regards to its overall tone. I wanted it to have the feeling of more of a band playing together but keeping elements of that computer industrial arpeggiator sound to really drive it. It was arranged mostly on Pro Tools and Ableton Live. We recorded live electric guitars and electric bass. I used mostly hardware synthesizers for this production as well. There are some slight additional melodic and rhythmic parts added to bridge some sections together (like a cinematic SFX or additional drum hit - yes). There are additional melodies added but the original main lead from the original is unaltered and remains distinct in this version. Some melodies may be louder or quieter in this mix. My Details Remixer Name: Marc Armitage Real Name: Marc Chemaly Email: Website: https://www.marcarmitage.net Userid: 36369 Forum Username: marcchemali

Contact Info by Docjekyll real name: Chris Johnson email: forum: Docjekyll (#31804) Remix "The Shrine of Twisted Shadows" (also via SoundCloud) a remix of "Final Battle" from Lufia 2 (for SNES) This is a trance remix of the final dungeon BGM from Lufia 2. I'm sure this OST requires no introduction as it has inspired numerous remixes on OCRemix and elsewhere. For this remix, I wanted to combine my favorite SNES game with the music genre that first got me interested in digital music production. The remix title is a reference to "Twisted" by Svenson & Gielen, which long ago lodged itself in my brain as a quintessential trance track. Originally this remix was a much slower and lengthier progressive trance mix but I decided to shorten it in order to better reflect the source material. Hopefully the result is a fun trance experience for fans of Lufia 2 that doesn't overstay its welcome. This remix is not subtle in its use of the source material, both in terms of structure and phrasing. There are variations on note patterns throughout (most obviously at 3:08) in order to better build and release tension in a manner appropriate to the trance genre. In a few places I changed things in order to emphasize my favorite ideas from the source track. For example: detuned synth pluck pattern starting at 0:28 in place of the pulsing dissonant string chords from the original to keep the listener somewhat off-balance swelling synths leaning hard into holding the tension just a little longer at 1:23 in place of the 16th-note run that teases releasing tension from the original melody vibrato sine wave at 1:28 to emphasize the 4th/5th leap that the melody in the original uses to release a bit of tension right before the buildup to its big moments For as long as I have done music production as a hobby, I have repeatedly come back to the Lufia 2 soundtrack, and I feel like with this remix I may have finally done it justice. Thank you for your time and feedback!

ReMixer & real name: Eino Keskitalo e-mail: Names of games arranged: Final Fantasy V, Final Fantasy X Name of Arrangement: Sovitus Names of individual songs arranged: Lenna's Theme (FFV), Lulu's Theme (FFX) Sources Lenna: https://youtu.be/Egvbf_Vfs80 Lulu: https://youtu.be/kshxwh_CLYk MP3 link: FLAC link: Long time no see! This arrangement was originally made for the final round of the Final Fantasy Crystal Clash competition, way back from early 2014! I think I dare not listen to the compo version, the mix was crammed full of stuff. It took me eight years to clean it up! Cut a lot of stuff out, not everything has to be playing all the time. Big thanks to Timaeus for excellent feedback on the OCR forums, and to the #workshop channel on Discord for comments. Source breakdown (this is quite liberal..): The long intro: 0:00-0:07 no source anywhere 0:07-0:24 The descending pizzicato from Lulu's theme (from the start) is there on the violin to the right, adjusted to major key.. if you'll accept that. 0:24-0:42 Pizzicato continues; Lenna's bells from 0:00-0:10 on the chippy synth to the left 0:42-0:51 No source First "verse" 0:51-1:25 Lenna's bells + melody (on the fake guitar, different rhythm) from 0:06-0:28. Second "verse": 1:25-2:00 Bits of Lenna's bells, bits of Lenna's melody. 01:41-01:44 has a bass fill from Lenna (0:39-0:42 in the source). From Lulu, the melloflute melody 0:14-0:25 is adjusted to key (& rhythm) and plays in the background organ at 1:27-1:30 and 1:44-1:47. Due to the adjustments, these perhaps don't count as prominent source usage. 2:00-2:03 A little break First "chorus": 2:03-2:07 The lead follows the lower bell from Lenna at 0:55-1:01 (though the rhythm is different). 2:07-2:11 Lulu's melloflute from 0:14-0:19 2:12-2:20 2:12-2:14 and 2:16-2:20 you can hear the higher bell from Lenna's at 0:55-0:58 in the background. 2:21-2:25 The descending pizzicato from Lulu's theme's beginning plays once @ 2:21. Sorta. Third "verse": 2:25-2:58 The Lulu's B-part melody from 1:09-1:34 plays twice (with the harmony very much reharmonized). Lenna's bass fill at 02:40-02:42. 2:58-3:02 a little break Second "chorus": 3:02-3:10 The lower bell from Lenna's 0:55-1:06. 3:10-3:36 Variations of the previous bit; the original melody is there in the background. 3:33-3:36 follows the chord progression at the end of the "chorus" of Lenna's theme. 3:36-3:48 a wind-down.

Hello, I'd like to submit my remix to you! Here's the info required from the form. Thank you for considering it! Contact Information Xandomize Alexander Evans No website, just a soundcloud - www.soundcloud.com/xandomize 38065 Submission Information Phantasy Star IV: The End of the Millennium The End of the Chillennium The End of the Millennium PSIV is already on the site! OST is on the site as well. I knew I wanted to make a drastic change to this song, as it's a fast-paced, super in-your-face rock song on the OST. I began working towards a synthwave feel but ended up at a slow-tempo industrial-ish electronica as I honed in on final instruments and atmospheric feel. The OST has a simple A and B part, so I added a bluesy synth solo over the last A part, and worked in some chord changes that gives it a little depth before it explodes into the last chorus, followed by a quick key change before ending on a hard, 4 on the floor beat.

Submission game: Prince of Persia (SNES) composer: Toshiya Yamanaka, Tetsuya Nakano remix title: 119 Minutes Left Artist Info remixer name: Dj Orange forum userid : 3683 real name: Geoff Harding comments: i tried Dm - Dbm - Cm9

Contact Information Your ReMixer name: Mel Decision Your real name: Mel Choyce-Dwan Your email address: Your website: https://melchoyce.design/ Your userid: 37511 Submission Information Name of game(s) arranged: Super Mario 64 Name of arrangement: The Slow Pull of the Space Docks Name of individual song(s) arranged: Dire Dire Docks Your own comments about the mix: I created this piece as part of a challenge to "write an arrangement of any video game song, but make it space-related." I immediately knew that I wanted to do a take on Dire Dire Docks. There's a thin line between deep sea and space, and I wanted to see if I could actually achieve it. I relied on layering lots of soft pianos and synths, and drenched the whole piece in reverb. I wanted to give the feeling of drifting through space, staring out through the window of a spaceship into the black. Kind of peaceful and a little mysterious, with a touch of awe. Thanks for considering!

Edit 11th Jan 2023: Bluelighter got in touch with a new link, his comments: Remixer name: Bluelighter (21840-bluelighter); Anna Hanabi; Sable Providence; Khoo Sze Ning; Guitarsvd; Ian Martyn (35158-mooglepower); dpMusicman Mail: Game & Songs: Final Fantasy VIII & Tell me Composer: Nobuo Uematsu Project: Final Fantasy VIII : Seeds of Pandora Credits: Bluelighter (Guillaume Saumande): arranger, mixer Anna Hanabi (Annabelle Saumande): singer Sable Providence (*): flutes (dizi, bass dizi, xiao) Khoo Sze Ning (Khoo Sze Ning): guzheng (https://www.instagram.com/szening_khoo/) Guitarsvd (Cecil Chau): Ehru Ian Martyn (Ian Martyn): bass, mandolin (https://linktr.ee/IanMartyn) dpMusicman (*): percussions (djembe, triangle, shaker) Hi OCR! This arrangement is based on “Tell me”, theme based on the character Quistis in the game. In the scene, she realized her difficulty to communicate with Squall, her taciturn student. Hence the title, “Where is my fault?” Some instrument players offered to collaborate for this album project. For me, it was a great opportunity to work in a style different, to use some acoustic instruments that I’m not used to. After discussion with Jorito and DFW, I oriented my arrangement to an Asian style. I first wanted to use harp. But, they convinced me to replace it by guzheng to give a more Asian feel. I’d to enrich my knowledge on these different instruments. Notably, some Asian instruments whose I didn’t know the sonority or the playing. I was a little worry about guzheng, written firstly for harp, and whose playing is different. I was not sure of its possibilities; but Khoo played it very well! SableProvidence guided me about flute and their tessitura. He explained me that the 2nd voice at the ending was too low for a standard flute, hence the bass dizi. He helped me also to find some contacts. So, I could collaborate with dpMusicman for percussions and Khoo for gudheng. I asked my sister to sing on this piece. She has yet collaborated on an album project and I knew her voice would well match with what I wanted for this arrangement. I’m grateful to all instrument players who have collaborated with me. It was a great experience to work with all them! I thank also Jorito and DFW for their advice, on the arrangement and on the mixing. About the inspiration, I built this arrangement bit by bit. At the beginning, I only wanted an acoustic piece with a female voice with some long notes (representing the character Quistis). I added a pad and a high synthe to give more consistency. At the pt3 (cf. breakdown), I felt it should be the culminant point for this mix. I added drum, bass… To reinforce the rhythm, I wanted an instrument like guitar, but lighter. Ian associated at the album project played mandolin (more than bass); it would be a good option. After this part, I was blocked a moment to continue. I decided in pt4 to keep a marked rhythm and to start a new harmony. I realized this harmony well married with the main melody. It was also a good way to give more importance to vocal. Dizi take over the vocal at part 5 and play a new melody, based on the same harmony. I concluded this arrangement (pt6 and 7) with a part in the same mood as the beginning. Enjoy, BREACKDOWN Original: - 0’00 Melodic Line 1 - 0’25 ML2 - 0’50 ML3 Arrangement: 1. 0’00 ML1 2. 0’51 ML2 3. 1’20 ML3 4. 2’10 ML2 5. 2’45 free 6. 3’15 ML3 7. 3’40 ML1

ReMixer name: Neon X EMail: Website: https://www.youtube.com/channel/UCV8NwzoUa9I9HD1YXRIXp3g UserID: 37046 Name of game: Mega Man 3 Name of arrangement: My Sweet Gemini Name of song: Gemini Man theme Original composer: Yasunori Mitsuda For clarification: Name of remix: My Sweet Gemini Name of original song: Gemini Man theme

The following was provided by the artist as a source breakdown, including an audio reference. Please keep this in mind when evaluating this track!

Hey guys! Long time lurker on Youtube, first time submitter here. This is a remix of "Pigstep" from Minecraft, in the heavy metal style of Mick Gordon's DOOM soundtrack. Contact Info: ReMixer name: Mosh Bits Real names: Chris Goins, Josh Fullerton, & Dylan Shipe Email Address: Website: youtube.com/c/moshbits User ID #: 38030 Submission Info: Name of Game: Minecraft Name of Arrangement: Pigmosh Song Arranged: Pigstep Original Composer: Lena Raine Pigstep is easily the most energetic theme in Minecraft, so we gravitated towards it almost immediately. You'll find the song in Minecraft's Nether, and with the release of the Minecraft Nether update and the release of DOOM Eternal in such close proximity, along with the underworld/hell theme being the focus of each, it didn't take any time at all to make the connection between the two. We talked about putting this track together for ages, and almost 2 years later, we finally have something we're really proud of. Thanks in advance for (hopefully) considering us, and thanks so much for the service you all provide. Hope to hear back, - Mosh Bits

Contact Information Platonist Jonas Loman platonistmusic.com/reunion 16372 Submission Information Kenshi When The Phoenix Doesn't Revive Fertile PC, Kole Hicks https://www.youtube.com/watch?v=33ZP8_aAdNI Hey! I'm back. It's my first submission made in Renoise Tracker. Took me a while to figure out how to retain my style/sound, because it's been so closely tied to schism tracker's technological limitations. I think I've found a sweet spot this time. Love the game, love the soundtrack, love the song. What can I say, it's an underrated, (and somewhat buggy ) masterpiece. cheers! (Source starts at 12:27)

I hope this email finds you well. I compose trailer music as a side-passion (www.volitionmusic.com), but recently decided to take a little breather from trailer music to write a hybrid orchestral cover for the Super Metroid Prologue theme. I have attached a preliminary mix. Please let me know what you think. I am open to constructive comments and critiques. If the track is accepted, I can send you the final mix. ReMixer name: Aidin Ashoori Real name: Aidin Ashoori Email address: Website: www.volitionmusic.com User ID: 37822 Name of game: Super Metroid Title of arrangement: 'Event Horizon' Title of original track: 'Theme of Super Metroid' (aka 'Theme of Samus') Original composer: Kenji Yamamoto Link to the original track: https://youtu.be/5vYsVk23oxA My comments: Drawing on my experience as a trailer music composer, I have created a hybrid orchestral reimagining of the 'Theme of Super Metroid'. In this cover, I managed to introduce some bolder and more heroic elements to the arrangement, while still maintaining the dark and atmospheric feel of the original. Best regards, Aidin

Remixer: HoboKa Game: Secret of Evermore original composer: Jeremy Soule Hi guys! And greetings to the new judges, Dark Sim and Co. (っ◔◡◔)っ herro I went for a cinematic big-beat, with operatic stuff to make it epic. Er...Can't really eloquently describe this remix. Other than I wanted to expand on it in my own way, using Omnisphere 2 and Composer Cloud. Hopefully it's not overdone or undercooked. Enjoy!

ReMixer name: Neon X EMail: Website: https://www.youtube.com/channel/UCV8NwzoUa9I9HD1YXRIXp3g UserID: 37046 Name of game: Super Mario World 2: Yoshi's Island Name of arrangement: Back To The Island Name of song: Yoshi's Island / Title theme Original composer: Koji Kondo For clarification: Name of remix: Back To The Island Name of original song: Yoshi's Island / Title theme

This is my arrangement of "Beyond the Deep Blue Sea" from Final Fantasy 5, originally composed by Nobuo Uematsu. This song (the original, and now, especially this remix) is deeply personal for me. It resonates with a lot of memories, and some of the things currently going on in my life. Creating it was a highly emotional experience. Although this was already one of my favourite songs from FF5, it was sort of a commission. This track was nominated and voted for by my patrons on Subscribestar. If you're interested in voting/nominating in the future, you can subscribe to me here: www.subscribestar.com/rebeccaetripp A new song (usually a VGM remix) will be chosen every month.

I originally had this flagged for a direct post, but I'm struggling to connect this to the original source material outside of chord progressions. If anyone can successfully make that connection, this should be a pretty easy pass but it's just not clicking with me.

•ReMixer name: TheBitterRoost •Email: •userid: 32609 • Game arranged: Okami • Arrangement name: Into the Ocean We Walk Peering Way Past the Snake • Individual songs arranged: Inside the Water Dragon • Composer: Rei Kondoh • Link to original: https://youtu.be/LSv-MiYVEP0 • Recorded with drums, mics, acoustic guitars, DI bass, DI electric guitar through freeware amp sims, and a simple Synth1 sine/glass pad. Done for the Pixel Mixers’ Okami/Okamiden tribute album. This was one of my favorite songs from the game; I remember jumping and wasting time in the water dragon to let the song loop a few extra times. The melody struck me as “Opethy,” so I used their acoustic style as a springboard, leading to my usual wheelhouse of doom metal. ---------------------------------------------------------------------------------------- Hello hello, No problem at all. Much like a picture is worth a thousand words, I figured I'd bounce out a version of the tune with the original chopped/stretched over top of it. Here it is, I'll refer to it when using timestamps below: Overall, I shifted the tempo up from its original ~175bpm 6/8 to ~189bpm 6/8 to roughly match the feel of Opeth's song "Harvest" (where the pun in the title comes from <-- "into the orchard we walk peering way past the gate"). The guiding light for me through the whole song is the ghosty/sine-wavey synth that carries the whole way in both versions; I even used a very similar sounding synth sound in mine. [0:12-0:40] Chords follow the ghostly synth; they don't exactly match source arpeggios in 2nd and 6th bar of the two 8-bar phrases, but stylistically fits better with the Opeth vibes. [0:41-1:45] Lead acoustic follows source melody with some original-ish rhythm acoustic arpeggios. Dirty gtrs follow the "james bond" harp progression. [1:45-2:07] Acoustics guitars follow source harp arps. [2:07-2:38] Lead guitars follow ghosty synth (+harmony for 2nd pass). [2:45-2:52] Pwr-chord walk-down = 1st three notes of the melody (ghosty synth), countermelody/harmony leads on top. [3:28-3:51] Acoustics follow source melody. [3:52-4:37] Lead gtrs follow ghosty synth melody, with some different harmonies on top to vary the feel from earlier iterations (e.g. 2:07-2:38). [4:45-End] Rhythm gtrs follow and play around with harp progression, leads follow ghosty synth melody. For the latter half-time segment, they switch; rhythms now chug chords and the ghosty synth melody is arpeggiated and harmonized. Hope this provides enough clarification of how I used the source material here. Let me know if you have any questions! Also, I don't know what the timetable would be for this one, but it's about to be included in a licensed Capcom compilation album that Pixel Mixers is releasing soon. Would it be ok for this one to be released after that comes out so that a link to the album could be included in the post/YT video and such? I can let y'all know when that occurs. Thanks

Your ReMixer name: ThePlasmas Your real name: Mauricio Castro Your email address: Your website: https://theplasmasvgm.bandcamp.com Your userid: 30081 Name of game(s) arranged: Megaman Zero 4 Name of arrangement: Frente en Alto Name of individual song(s) arranged: Straight Ahead Additional information about game including composer, system, etc. (if it has not yet been added to the site): Ippo Yamada, Gameboy Advance Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: Recorded, mixed and mastered at ABXY home studio, Viña del Mar. Track available on "Z3R0 R3M1X: A MegaMan Zero Tribute Album".

ReMixer name - Justin Thornburgh Real name - Justin Thornburgh Email address - Website - https://www.youtube.com/c/JustinThornburgh Userid - 37749 Name of game arranged - Hollow Knight Name of arrangement - Hallownest Below the Wastes Name of individual song arranged - Enter Hallownest Composer: Christopher Larkin Link to the original soundtrack - https://www.youtube.com/watch?v=eqispO2Bi2k Comments - The main idea of my arrangement was to explore a creepy and weird atmosphere that I feel is a different take on the dark ambiance of original track and game. I started with the idea of a fusion of orchestral and electronic elements which a heavy emphasis on sound design using analog synths. I moved sections around to create a different momentum and progression throughout with a hopefully cohesive form. The melodies and chord progressions of the original are strong and simple, so they feature nicely and prominently in the arrangement. Live euphonium and cello are also featured on the arrangement. The euphonium is played by Dewey Newt, and the cello is played by Chromatic Apparatus. I've checked with them and gotten OKs to submit here.

Hello OCRemix, After posting on the "Post your game remix" forum, I wanted to submit a song from my album to confront it to a new audience. Contact Information ReMixer name : Black SeeD Email : Website : https://blackseedbm.bandcamp.com/releases Userid : 37884 Submission Information Game arranged : Pokemon (Red&Blue and other versions probably) Name of arrangement : A Scent of Lavender Song arranged : Lavender Town Comments : Hello everyone ! This track is part of my album of remixed video game tracks in an atmospheric black metal way (you can find the whole album here : Black SeeD - Farplane of Memories (2021)). The goal of this track and the album in general was to work with songs on which I felt that I could emphasize melancholic themes with my favorite music genre. This one also has some original melodies to make it a whole song and not just a cover. The original Pokemon theme is distributed through the whole song, pretty much with all instruments at some point kind of as a "ghost melody", at least that's the feeling I tried to give. I hope you'll like it ! Thanks a lot !

Original Decision Epic Footsteps, a remix of the first walkabout theme from Dragon Warrior 2, by the Audiomancer(a.k.a. Eric) Dragon Warrior 2 is an NES game. This is another attempt at this remix, and since my last attempt, I have: Procured some synths as they have gone on sale. Hopefully the new sounds are more pleasing. I also automated various parameters on them. In addition, I applied more layering of synths. I had two choirs at the beginning with different attack values, I removed the one with the slower attack. I also altered the "voice" part at 1:49 I have applied compression on a per track basis, as opposed to on the master. The master bus does have a limiter on it, but I didn't push it very hard (I think). I also removed the vocal/vocode part mentioned, and also added a couple "splashes" of the walkabout theme from the first Dragon Warrior game to increase the percentage of game music content. Those splashes are heard at 20-26, and 1:28-1:35. The part at 42-55 is based on the second walkabout theme in DW2, albeit very loosely. Thought I would point it out, and even then, I wouldn't be surprised if it wasn't considered an interpretation of the source material. The previous 8 bars of melody are based on the Dragon Warrior 2 theme. I lowered the volume and did EQ changes on the hats so they don't take up as much room. I also varied the volume and panning on the hats as well. I did some small frequency cuts and boosts to try to make things more clear, and to give instruments more room against each other. Also tried to remove resonances. I still kept the arrangement largely as is. One of the judges compared this to older remixes arrangement wise, and I take that as a compliment. I like the older ones:) I did change some of the instrumentation, however. I spent what I think is too much time on the bass drum and snare you hear here. I tried to give them a little more meat, and there's like, 6 effects on each of those tracks. I probably put in a lot of work for something that won't be as well received as I hope it will;) Once again, I appreciate the time and consideration:) Respectfully, Audiomancer.