Emunator

Your ReMixer name: Sarvoth Your real name: Christopher Michael Todd Your email address: Website (music): https://soundcloud.com/christopher-michael-todd/tracks Forum User ID is: 37552 Additional info: The game the remix comes from is Final Fantasy 6 from SNES. I call it "The Last Esper" but it is a remix of Terra's theme from FF6 in a metal-esque way. The original song and soundtrack of the game was done by the legendary Nobuo Uematsu. Comments about the mix: What can I say? Like many others, I am just old enough to have grown up playing FF6. I was a 5th grader at the time the game came out and I played it for probably a couple of years, over and over, maxing out the characters to lvl 99, etc. The game's story profoundly resonated with me and the characters as well. I thought it was superbly written and I am in the camp that it is the best FF ever made. I have always wanted to remix this iconic song from the game. Many people I showed this to suggested I submit my song to you all. So here I am. The music on this track is 100 percent performed by me as a solo artist. This is my first video game remix, but hopefully you cannot tell that. Thank you for considering. -Chris

Hi OCRemix judge team, I hope this mail finds you well! This is my submission of 'Orwellian', a metal remix / medley of two tracks from the Half-Life 2 and Half-Life Alyx OSTs. Download (WAV 44.1k / 16 bit): Contact Information: Remixer name: BKM Real name: Björn Kirchhoff Mail: Website: https://www.youtube.com/user/bjoernkmusic UserID: 32752 Remixer name: Manuel Hirner Real name: Manuel Hirner Mail: Website: https://www.instagram.com/manuelhirner_books_and_music/ UserID: 37550 Submission Information: Games: Half-Life 2 (PC, Valve), Half-Life Alyx (PC, Valve) Remix Name: Orwellian Arranged song 1: You're Not Supposed To Be Here Original composer 1: Kelly Bailey Arranged song 2: Anti-Citizen Original composer 2: Mike Morasky Source link 2: About this remix: This is a metal remix / medley of 'You're Not Supposed To Be Here' (YNSTBH) from Half-Life 2 (2004) and 'Anti-Citizen' (AC) from Half-Life Alyx (2020). Given that both tracks are in D minor, I thought it would be nice to bridge the decades and generations of Half-Life games in that way. I haven't actually played HL: Alyx due to the somewhat prohibitive nature of VR and only enjoyed it vicariously on YouTube. Nevertheless, I'm super excited that we got another entry in a series that had been abandonned for so long that even the memes surrounding the lack of any sequels had become rather antiquated themselves. Both of the original tracks have fairly linear song structures; they're continuous progressions / builds that are employed during battle encounters to build tension. I therefore picked out certain motifs that felt good to play on guitar and sounded kinda 'metal', and rearranged them into a completely new sequence with a more classic song structure. Turns out, the original tracks blend very nicely - for example, the intro of this remix uses the atmospheric background melodies and bass line from YNSTBH with the main guitar riff from AC layered on top. Overall, I kept the speed and dark atmosphere - Half-Life tells a story about government oppression after all - of YNSTBH (160 bpm) and peppered in motifs from AC to mix things up. Also with regards to the linear song structure of the originals, I was a craving a moment of resolution. I therefore wrote an original, chorus-like section that I was able to build to over the first half of the track and end the remix on. The chorus also modulates from D minor to A minor, which allowed me to drop down a fifth on my downtuned 7 string guitar during these sections for an extra push of low end and heaviness. Finally my good friend and bandmate in Remember Your Scars, Manuel Hirner, delivered a fantastic solo that elevates the final (double-)chorus. His solo really ends this remix on a yearning, melancholic note that makes me want to walk into the sunset with a crowbar in my hand and the longing for freedom in my heart. Thank you for your time and for considering my submission. I hope my track is up to standards, I'd love to make another contribution to OCR! Cheers, Björ

ad.mixx Aaron Corbitt 22874-admixx Writeup: Alright finally submitting this: same tempo, same composition, nothing really changed except for the arrangement and vocals added on top. Basically I was using the song as more of a beat, which my god it makes a great beat. I really love mystery dungeon music, and this one is no exception. Only completely original section is from :35-:46. The rest of the song I'm using the source in some way. Lyrics: I'm hopin' for somethin' to say To set you off, let you know, now look the other way So don't push your luck with me friend I'm one step away from letting you know how to offend I'm just a cowboy tryna' wrangle my pride I'm just a loud man whose got something to hide I'm just a coward. Keep my eyes off the Lord Lookin' for power so I can't be ignored. I'm hopin' for somethin' to say To let you know I'm afraid don't look the other way Yua: But if yah want me to be your friend Then look me in the eyes again. I'm just a cowboy tryna' wrangle my pride I'm just a loud man whose got something to hide I'm just a coward. Keep my eyes off the Lord Lookin' for power so I can't be ignored. One breath, one time, hold me back from the line (x2) So let me say what I need to say I don't think that I'll need much more I don't believe in fate I don't believe that love can erase what he said in James 4 It says that You're gonna ignore those who are proud Well you can't ignore me friend And all the hope that I feel yah it's in the sound And I'm thinkin' you're likin' the end. I'm hopin' for somethin' to say To set you off, let you know, now look the other way So don't push your luck with me friend I'm one step away from letting you know how to offend I'm just a cowboy tryna' wrangle my pride I'm just a loud man whose got something to hide I'm just a coward. Keep my eyes off the Lord Lookin' for power so I can't be ignored.

Hi, I'm Torby Brand. This is my OCR submission for an Octopath Traveler remix. Track Artists: Arr., Keys: Torby Brand Real name: Torbjørn Brandrud Links: https://youtube.com/c/TorbyBrand https://fanlink.to/torbybrand Arr., VST: Tremendouz Links: https://youtube.com/c/Tremendouz Drums, Guitars: jmabate Links: https://youtube.com/user/jmabate Submission information: Track name: Destiny's Final Breath Source Game: Octopath Traveler Source Track: Battle at Journey's End Track link: Comments: "I'm happy to present this Octopath Traveler arrangement that I was able to put together for "Echoes of Eight", a Pixel Mixers tribute album. The soundtrack has stuck with me ever since I finished the game, and although the game has its grindy and slow parts to it, I couldn't deny the pure, raw power of Yasunori Nishiki's compositions. Especially in the battle themes! And so, I was ecstatic to be handed this theme for the tribute album. I am a pianist at heart, but occasionally I am able to enlist the help of friends such as Tremendouz, who excels at throwing together different instruments into a mix and making it work! Not to mention, he has his foot into the metal genre, that of which I wanted to dip into for this arrangement. We wanted to retain some of the orchestral vibes while adding more energy to it, that's why the bpm is higher as well. There's keys, violins, flutes, and electric guitars all working together for different lead parts. We already had a pleasing arrangement going, but jmabate stepping in to handle the drums and guitars elevated the mix to the next level in my opinion, with the guitar solo being the cherry on top! I feel we managed to capture the energy of the fated battles where this theme plays in a new fashion. But what I know for sure is that I've managed to pour my passion for the game and the soundtrack into one track, with my friends' help along the way " Best, -Torby

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: Star Fox 64 Name of arrangement: Distant Region Name of individual song(s) arranged: Area 6 Feat. ad.mixx, Sean Schafianski, DS Music This track was originally intended for the Star Fox 64 album. I took up Area 6 as it was the only song that hadn't been claimed that I jived with. The result was painfully figuring out how to arrange better, with arrangements that were so bad during the process that they were listened to for... less than 30 seconds. Needless to say, they sounded nothing like this one. I finally settled on Lo-Fi Hip-Hop after being inspired by a lot of Lo-Fi Hip-Hop remixes. I didn't have a direct idea of how I Wanted to produce this, though, as my production fell flat. ad.mixx came in and gave this remix so, so much life that these performances desperately needed. Lo-fi hip hop is fun to do, and I'll definitely revisit the genre when my self-production skills improve. Beyond that, this was my first track from Star Fox 64, and I'm glad to do it justice. -Lucas Guimaraes

Hello. This is Audiomancer, and the name of this remix is Rest and Relaxation. It's a remix of the village theme from Dragon Warrior 3. This was made completely on my phone with Caustic 3 and Caustic mastering. I feel like being forced to use the simplified instruments in Caustic has really helped me learn, and hopefully someday when family life and overtime let up, I can apply what I have learned to a full DAW;) Remix is attached, original is below. Thanks for your consideration!

Your ReMixer name: BeeZerk Your real name: Marek Szyszkowski Your email address: Your website: www.soundcloud.com/beezerk Your userid: 37531 Name of game(s) arranged: The Human Race Name of arrangement: Rob Hubbard - The Human Race (BeeZerk Remix) Name of individual song(s) arranged: Subtune 4 Additional information about game including composer, system, etc.: Rob Hubbard, C64

Tagging @prophetik music for this, I think you would have some unique insight and perspective onto how to evaluate an arrangement like this. I've got to admit, I'm stumped.

Dear OverClocked ReMix judges, It's been over a decade now since my first (unsuccessful) submission, so I thought it could be worth a retry with one of my more recent live improvisations, which might be a bit...uhmmm...unconventional. Meanwhile, I've dug deep into the world of pipe organs as an autodidact, with many lessons learned already and even more to still learn -- but decide for yourself as you take a listen. Hope you'll enjoy! Contact Information =================== - ReMixer name: "Woody/mC" (alternatives: "WoodyofmC" or just "Woody") - Real name: N/A - Email address: - Website/Discography: http://en.wpoa.de/ - Additional equipment info: http://en.wpoa.de/www/organ.en.php - Userid: N/A Submission Information ====================== - Name of game(s) arranged: "The Legend of Zelda: Ocarina of Time" - Name of arrangement: "Temple Of Time: Chant & Carillon" - Name of individual song(s) arranged: "Temple of Time" - Link to OST: Download Links ============== - Submission audio (FLAC 2.0ch 16bit 44.1kHz): - Original recording master (FLAC 7.1ch 16bit 48kHz): - VOD illustration: https://youtu.be/u4MjElSvRVI Other surround/stereo downmixes (MP3 etc.) can be exported on demand in a snap, if required -- please don't hesitate to contact me in that case. Additional Comments =================== Following my childhood dream and fascination for pipe organs, to become a self-taught pipe organist with a focus on VGM and movie soundtracks was an unevitable destiny with regards to my hobby and passion. Thus, the live improvisation on one of TLoZ:OoT's most notable themes is somewhat a milestone for me, as I was able to put that big cathedral grandeur and acoustics into a piece that would be more than fitting as an OST for the place where the game actually placed the original. In fact, "Temple of Time: Chant & Carillon" consists of two interwoven movements, namely the chant portion in the first half (resembling an "accompaniment" to the vocals heard in the OST) and the carillon section, which refers to a "carillon piece" in the context of pipe organ music; these try to imitate the ringing of church bells through fast arpeggiated chords while the main melody is often played with the left hand on another manual or with even the feet using the pedals, featuring a different registration (= timbre). The piece itself features almost the full dynamic range of the organ with a more or less linear increase, reaching its first culmination point at a striking dissonant chord around 6:10, before it enters the finale section which eventually utilises "full organ" (= all stops activated) for the final chords cadence (hope you'll own a decent LFE to enjoy the frequencies around ~16Hz). Just like many of my other creations, this has been played live at home using a three-manual DIY organ console with Milan Digital Audio's "Hauptwerk" as the software backbone and features MDA's "1903 Notre Dame de Metz" sample set being mapped to four different speaker pairs. The "audio artifacts" you might notice, such as key attacks, blower noise and some hizz from certain pipe ranks are indeed intended to be present in the final recording and are both a sign of realism and paying attention to the details when the sample set was recorded as well as they're vital for the authenticity of the piece's final recording. It should be noted that this exact recording -- like pretty much all of my music -- is a unique on-the-fly improvisation, which means that it cannot be revised or otherwise be "polished" in any way, not even for a resubmission attempt. Be sure to watch the VOD if you'd like to see the pictures that I had in mind when I improvised this (and for some nice goosebumps during the final measures -- at least I hope so). -- Greetz, Woody/mC

Certainly one of the most out-of-left-field submissions I've heard lately. It's a very liberal arrangement and the stuff going on with the tempo shifts are really intriguing. This will require some timestamping for sure but there's a lot of good stuff here.

Contact Information ReMixer Name : HotSonLeo Email Address : Website : https://www.youtube.com/channel/UCBv6nrw1KY0ledq0oW-E-ug Userid : 37520 Submission Information [Game Title] The Legend of Zelda: Breath of the Wild [Arrangement Title] The Village Bobino [Song Title] Hateno Village I believe this song is already in your database. Please do not make my real name publicly available. I'll go by HotSonLeo. After struggling for weeks to play the Hateno Village theme on piano, I entered the sheet music into a piano roll, slowed it down to roughly half speed, changed all the sounds, filled in the gaps, and a new arrangement was born. Creating this arrangement was more fun than attempting to play the original on piano. This is the first song I've ever released.

Contact Information Remixer Name: ExperimentalSoundLab Person Name: Jamie Anne Leibowitz Email: Website: https://soundcloud.com/experimentalsoundlab User ID: 25506 Submission Information Name of game(s) arranged: Metroid Fusion, Metroid Prime Name of arrangement: Serene Spacefish Name of individual song(s) arranged: Serris Battle, Sector 4 (AQA) Aquatic Level Control Zone, Phendrana Drifts Main Theme Source Breakdown: Serris Battle, arpeggiator - Starting at 0:26 and through the rest of the track, highlighted in solo at 4:11 Sector 4 (AQA) Aquatic Level Control Zone - 0:34-0:40, 1:52-1:59, 2:25-2:32, 4:40-4:46 Sector 1 (SRX) - Source track very briefly at 0:49, not included in arranged songs because it's a direct source pull Phendrana Drifts Main Theme - 1:33-1:36, 2:48-2:52 Serris Battle, slow rising melody - 1:59-2:13, 3:04-3:18 I've been sitting on this one for more years than I care to admit, but the announcement of Metroid Dread and the fact that Metroid Fusion is vastly underrepresented on this site finally pushed me to hit the submit button. Be the change you want to see in the world, right? This started out as a much more energetic track, but I needed to slow down the source to make sure I was getting the right notes in that arpeggiator sound in the Serris Battle, and when I heard it slowed down my plans changed As it is now, the main focus is that melody with some small snippets of other Metroid soundtracks building up a bunch of layers in a (mostly) ambient track. Part of my hesitance to submit this track was the very limited source material usage; it takes recognizable parts of the source but generally only very small bits of it, especially at the end where technically the arpeggiator melody is still there but it's more background while the featured part is original composition. There's a plot to this track! The beginning section is Serris sleeping peacefully in its tank, a pleasant dream to the rhythm of its heartbeat, interrupted by a vision of Samus in Sector 1 (that's the sort of glitched radio interference around it). Serris falls back asleep and its dreams grow increasingly violent as it is infected by the X. Finally, the last major section is the actual battle with Samus, ending with a fall off and a brief moment of peace calling back to the beginning before Serris fades away. Hope you enjoy!

Artist: Rebecca E Tripp There is no piece of music more capable of bringing me to tears than "Holding My Thoughts in My Heart", composed by Nobuo Uematsu for Final Fantasy 7. It's a track I associate with grief, as well as the fragility preciousness of life. Generally speaking, I've avoided listening to this song, in spite of its immense beauty, simply for that reason. However, I wanted to give myself a chance to enjoy this tune in a new way, so I worked on this arrangement over a period of two years. With this, I wanted to bring out the more "hopeful" aspects of the song. I thought, it's not just a song about a broken heart, but also one that's steadily mending itself. Like spring readying itself during the peak of winter.

This is a remix of Mara and Nara's theme from the fourth chapter of Dragon Warrior 4. I also made this on my phone using Caustic 3 and Caustic mastering. I've been working a lot of overtime, so breaks at work are when I have time for anything like this:) I think I have gotten a better grasp of making music fooling around with the app. Thanks ahead of time for your consideration!

Also, hopefully this isn't derailing, but since @Wassup Thunder mentioned it, I wanted to share some of my favorite examples of atmospheric black metal or similar styles for anyone who may not be familiar with it. if you're looking to dive deeper into the genre, or would like some context for listening to Black SeeD's album, here's some good entry points!

YESSSSS!! As an aficionado of atmospheric black metal, I've been dying to hear this genre on the site for a long time. As far as I'm aware, there's only one track in this style that's been submitted and approved thus far. I feel like I have a good ear for how the genre is supposed to be produced and arranged at a professional level. At the time of writing this, I've listened to the first three songs with the intention of checking the rest out shortly, and I love what I've heard. Each of the three arrangements were dynamic without relying on pure repetition to fill out space and intense without compromising dynamics. From the two sources I was already familiar with (Terra and Lavender Town) you kept the core of the original melodies close and recognizable while still taking them in a unique, transformative direction. Your mixing style tends to bury the lead melodies beneath the rhythm guitars and drums, which may register to some as a production error, but as someone who has spent a lot of time with this genre, I would argue emphatically that this is definitely a feature, not a bug. The wall-of-sound is a defining characteristic of atmospheric black metal where the melody is often alluded to rather than explicitly placed at the forefront, but I have no trouble making out the connections to the original sources. I can't speak for the rest of staff, but in my personal opinion, I would be thrilled to hear any of these songs pass through our submissions queue and have a chance to give it a more critical ear as a submissions evaluator, and see what the rest of the judges think I would need to do a source check to sign off on track #1, but at the very least I would strongly suggest submitting Espers and A Scent of Lavender to the site. I'm keen to hear the rest of this soon and I'm glad you chose to share this project with us. Much love for bringing an underrepresented genre to OCR!!

Original Decision Greetings OC team, below the information about my resubmission. Contact Information: ReMixer Name: powerpilz Email: Submission Information: Name of games: Jazz Jack Rabbit 2 Name of arangement: Power Jam Name of individual songs: Medieval Jam Link to the original song: https://ocremix.org/song/25195 So. I finally decided to resubmit this track in it's improved version. I was really glad to receive your feedback and I guess it helped a lot to do some improvements. The drums have more variations, the kick is more crunchy, the track generally is a little bit more crunchy due to cuts in fillers and so more weight on the lead parts, i fixed the slightly off melody in one part and one of the most important things to me: the lead parts differ now so it's more fun to listen to the whole track. I didn't want to do too many variations in the drumparts thoug. I really like the flow now how it is and didn't want to disturb it too much with the drumset taking too much of space. The additional lead sound, that was way too loud in the last part of the second lead part, is still present, but it fits more in the rest of the composition. Sooooo I guess it's a really nice mix now. Best regards, powerpilz Source:

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Majora’s Mask Song Title: Cold Spell Songs Remixed: Snowhead Temple This is actually something I had fantasized about creating for an extremely long time, but I just never got around to it until recently! I was forced to prioritize it, however, since my patrons voted for it on Subscribestar. It's a cover of the Snowhead Temple theme from Majora's Mask, originally composed by Koji Kondo. This was always my favourite temple and dungeon theme within that game. Source:

ReMixer Name: The Good Ice ID: 36903 Email: Game: Stardew Valley Song: Fall (Raven's Descent) Composer: ConcernedApe aka Eric Barone Arrangement Title: Raven's Dream Hey everyone, hope you're doing well. I've really been digging the Stardew OST lately, as I finally got around to playing it last year (several years late, I know). So this may be the first of several submissions. But as I continue to expand my production techniques and explore new genres I really wanted to try a solo electronic piece, getting away from the live band shtick I've found a home in for the last few years. "Vgm lofi boom bap huehue" is far from an original concept, but I think I managed to put my own spin on it. I tried to channel a mood that says "the air is cool but the sun is warm, and the leaves are crunchy," and I think I succeeded in that overall vibe in the production. This isn't a particularly complex arrangement either; my additions really just boil down to small harmonic changes and bitcrushed melodies, with a light injection of vaporwavey wash. One thing I found particularly fun in making this was toying with new rhythmic concepts in a lofi context. The pulse is set to 4/4, but there are almost infinite ways to to push and pull that feel within each measure. You can make the drums sit behind the beat of course, but what about two instruments playing the same part in straight 8ths and quintuplets at the same time? Sounds weird on paper, but here it's a beautiful imbalance for those sweet lofi vibes. The air is cool but the synths are warm, and the drums are crunchy. Anyways I hope you enjoy listening and that maybe it makes your day a little bit more relaxing. Thanks and take care, The Good Ice Source:

All right, let's knock the form stuff out. Your ReMixer name: 227 Your email address: Your website: https://jdoes.art/ Your userid (number, not name) on our forums, found by viewing your forum profile: 17063 Name of game(s) arranged: The Legend of Zelda: Link's Awakening (the Game Boy original, if that distinction matters post-remake) Name of arrangement: Ballad of the THIEF Fish Name of individual song(s) arranged: Ballad of the Wind Fish Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Used to be a lurker back in... 2003? 2004? Something like that. Signed up in 2007, apparently, before disappearing for a decade. I relate to that "making it an exercise" bit in the FAQ a lot these days; after a decade or so spent largely away from music, I've been making another go of it lately on Youtube and my go-to method of practice is making songs using just one random thing. First, I made a song using only the audio recorded from a hand puppet. Then a Taco Bell cup. Then movie dialog. This is my fourth random-limitation song, made only with the audio of Marin singing Ballad of the Wind Fish on a Game Boy Color, captured through the headphone... port? Jack? Anyway, so I grabbed the audio from the headphone hole, layered it (and used PaulXStretch's granular craziness) to turn it into a bunch of other instruments, and then made a soundfont out of it for super flexible and CPU-light drums. Everything else went into the free Vital synth's sampler to tweak and distort in various ways. So all the audio is from the Game Boy. While I originally put this together for my Youtube channel (the video should be up sometime on June 11th and include some video that goes over the process: https://www.youtube.com/watch?v=8nFU37T6MmI), I don't remix things often and OCRemix popped into my mind. Figured I'd give it a go. Have a good one, person-reading-this. Source:

Your ReMixer name: Pixel Pirates Your real name: Tobaunta Torkelsson Your email address: Your website: pixelpirates.nu Your userid: 37469 Name of game(s) arranged: Donkey Kong Country 2 Name of arrangement: Dancing Bossanova Name of individual song(s) arranged: Boss Bossanova Your own comments about the mix, for example the inspiration behind it, how it was made, etc: One of my personal favorite tracks from the DKC trilogy since childhood. Haven’t seen many remixes of this song so I wanted to create my own dance version of the song for DKs 40th birthday since dance remix of game music is what I do. Source:

Remixer Name: LemonheadVGM Real Name: Philemon Holmes Website: https://lemonheadvgm.godaddysites.com/ https://twitter.com/HolmesPhilemon User ID: 36968 Game Arranged: Kingdom Hearts: Birth By Sleep. Name of Arrangement: Dismiss (Chinese Remix) Name of track arranged: Dismiss. Information about the mix: I went through a case of buying a bunch of different sample libraries that I got discounted, many of those being Chinese instruments. However, I found myself not really having a purpose for them. That made me think "When am I ever gonna use these?" At the time, I had just beaten the Terra-Xehanort fight in BBS on critical mode to unlock the secret ending, so the battle track was still in mind. That's when I decided that I'd make a remix of Dismiss with traditional Chinese instruments, which would allow me to both be very creative with a track that doesn't have many remixes and justify my excessive purchases.

Hello OCR Team, this is my first submission, so I hope I got this right. Remixer Name: sui Profile ID: 24063 Game: Final Fantasy VI Name of the arrangement: Daughter of the Lands Name of the original song: Terra's Theme Production comments: I originally created this arrangement as a gift to a streamer who was embarking on his first playthrough of Final Fantasy 6. The arrangement is rather straightforward with custom counterpoints here and there and a short Prelude cameo (it just goes with everything). My main goal was not to create an exotic arrangement just for the sake of it, but rather to do a proper orchestration of a familiar theme with good voice leading through all instruments (though I purposefully kept the bass line and thus the chord progression untouched), attention to detail in the MIDI automation and hopefully decent production values regarding instrument quality and mixing. I also tried to build a certain story line: The first part is Terra being alone an uncertain world, the middle part is her finding heart in her friends and thus a new beginning (hence the Prelude excerpt), and the last part is her traveling the world with confidence. On a more technical note, the strings are placed in German seating order, so from left to right it's first violins, cellos, violas and finally second violins, with the basses sitting behind the first violins to the left. This is my favorite seating as it allows treating the first and second violins as more separate voices and enables spatial effects like the panning effect of the tremolos at the beginning. All in all it was a great learning experience and I'm rather satisfied with the final result. I hope that despite the plain arrangement you will find it sufficient for posting. Kind regards Alex Source: https://www.youtube.com/watch?v=a6t_uyg_pF8

Past decision from 2013 It's been a long time since I submitted this, but here is a resubmit of the remix, I've been trying to mix this better and there are some small changes too, hopefully it is actually good enough now. On Thu, Nov 1, 2012 at 7:02 PM Jari Jouppi wrote: Source:

Name: Michael Hudak Game: The Legend of Zelda - Breath of the Wild Arrangement Name: Guardian Phase Original Song: Guardian Battle This is a phasing music piece that repeats the riff from "Guardian Battle" over and over, which I think reflects nicely the relentlessness of the Guardians themselves - hunter robots that chase and chase until they're somehow destroyed or escaped from. Or they get ya... About phasing: Phasing is an approach to minimalist composition in which two identical tracks start playing at the exact same time and tempo, but slowly move out of phase with each other as one track speeds up or slows down while the other remains the same. As they begin to slide out of phase, first you hear a doubling effect, then a delay that becomes more and more pronounced, and then finally they become totally de-synced as new rhythms appear and different combinations of notes overlap. Steve Reich popularized (some say came up with) the idea in the 1960s with his piece "It's Gonna Rain". He took two tape machines with the same tape, started them at the same time, and after a few minutes they began to move out of phase due to one of the machines playing very slightly faster than the other - "process music" as he called it. He would expand on this idea over the next several years with "Come Out", "Piano Phase", "Violin Phase", "Clapping Music", and "Drumming". Reich would become arguably the most influential American composer of the 20th century in large part to his phasing music pieces, having a huge impact on pop and electronic music in particular. Personally, if through some monkey's paw scenario I had to only listen to one composer for the rest of my life, it would (hopefully) be Reich. About this piece: Obviously a DAW will play a loop perfectly for as long as you want, so I started with a ~4-minute loop at 160 bpm, and another starting at 160 but eventually ending at 158 using an almost flat tempo automation ramp. I wanted to get a vintage tape machine sound like in "It's Gonna Rain" and "Come Out", but also the reverb of the orchestral space in "Piano Phase", so I tried to combine those lo-fi and hi-fi sounds (this also reflects the Guardians in BotW being revived ancient tech, more advanced than modern tech...the juxtaposition of themes from the game - old circuits vs new forests - really fits here). I ended up creating two more identical tracks by filtering out the low end and bringing up the white noise. The hissing, more airy tracks slowly pan out as the more midrange-y tracks pan in, and vice-versa. There are some very slight granular effects but overall I REALLY had to resist the urge to add more bells and whistles, and to just rely on the purity of my initial idea of Reich + Guardian riff. As for source usage, it's 100%. The bit from 0:04 in the source is used repeatedly until the end of the remix. although it's not obvious for much of the piece if you don't realize what's happening. For ~15 seconds at the start it's played by both tracks at once, and again for ~15 seconds at 3:25 after everything comes back into phase. At any time, though, you can adjust your ears and refocus on the source riff (done easier with headphones, focussing on one ear). It's always there. 3:32 has the only appearance of the melody that happens in the source at 0:12. In the end, I couldn't resist adding it. Thanks for taking the time to read this long write-up, and for considering another left-field submission. Source: https://www.youtube.com/watch?v=Pq3nncuA1Ak