Emunator

I'm falling in line with @Chimpazilla on this one - you bit off a LOT with this arrangement but man, is that arrangement a triumph! Easily one of your strongest to date, especially for a solo endeavor. I am not going to pore over details here, but I did find the mixing at the :15 mark until the drums kicked in to be the most problematic. In my book, it would be a damn shame if this were not fixable and this wasn't heard by the masses. I do hope Ivan is able to make some changes to balance certain parts and clean things up a little more, but I think this is comfortably above our bar, flaws and all. YES

Right off the bat, I'm hearing some cool textures and modulation, and the cool sound design continues throughout the arrangement. There's a cool sense of dread in the pacing of the arrangement, it feels like it's constantly pulsating and brewing towards something, but never fully explodes (this is something I really appreciate, and not a critique!) The drums are probably the weakest part of this arrangement, they are mixed very dry (especially the toms!) and up-front in terms of volume, so it highlights the fact that you're working with some pretty basic samples that are not sequenced with a ton of nuance either. I notice that your tom fills consistently don't resolve to anything on the downbeat, like a crash or an impact, so they feel detached and lackluster. I also found the glitch fills, such as the one at 3:00, to be not particularly effective because the fill doesn't lead into anything - it just happens and then the track returns back to the same exact energy, with no impact or resolution. I'm not sure if I'm explaining this right, but although I like the idea, I don't think the execution lands. The mixing feels rough around the edges, particularly in terms of volume. The intro bass comes in loud and hot, and in general it feels like your levels are cranked up too high and the elements are competing with each other. Although everything is generally audible, I feel like that's more because there just isn't a lot going on in the soundscape, so it's not the most effective way of filling out your frequency range. Arrangement-wise, this is actually really good, exactly in line with what we're looking for in terms of expansion on the source material and giving it your own personal touch. But the mixing and sound choices, as well as the implementation of the drum and filter fills, leaves a bit to be desired before this is ready. Really strong start though, I hope you find the feedback useful and get this back to us! NO (resubmit!)

Link Main ReMixer name: TheManPF (User ID: 35318) Additional artists: Zach Chapman; Ian Martyn Submission: Game: 3D Pinball: Space Cadet Name of arrangement: Into the Black Hole Songs arranged: Main Theme (https://youtu.be/Zyyn5rvmJ9I) Original composer: Matt Ridgway System: Windows Year: 1995 Comments: Ladies and gentlemen, brace yourselves... we're going to SPACE This track was arranged in October 2022 for Dwelling of Duels, theme Maxis games, I thought it would be fun to try to cover something that doesn't have "Sim" in the name, then I found out Maxis developed the space cadet pinball game that came with my Windows pc all the way back in the late 90s, I used to be a computer games kid, so I played this a lot, along with a lot of other small, shitty computer games. I never knew this game had music though. I expanded on the original motif a lot, and even sprinkled a few references to other pieces of music, namely "Also sprach Zarathustra" by Richard Strauss (more commonly known as that one song used in 2001: A Space Odyssey), and "Sun of Nothing" by Between the Buried and Me, I only changed the key so as to fit with the space cadet's theme (SIKE, they're actually in the same key already, what are the odds????). Everything else in the arrangement is developed from the motifs of the main theme of the space cadet, the melody is very fast, so in a lot of parts I break it down into smaller chunks or use it as a background element so as to not overwhelm, since I try to go for more of a slow burn with this. I also used a bunch of NASA recordings (they're publicly available on their website) for the intro and outro. In this story, an astronaut is tasked to explore the first ever black hole, and slowly starts up their spaceship, and blasts off into the void of space. Slowly but surely, they get closer and closer to the black hole, but just as they're about to make it, they get scared, and decide to turn around and float into the sun instead (where Sun of Nothing comes up). During this reflective moment, they try to collect themselves and decide if this is a task worth doing, but eventually, they get motivated, and regain their strength back, turning around and once again flying into the hole, getting closer and closer until everything gets distorted into a big crunch. The ending reflects that this astronaut reached the black hole, but whether they survived or not is up in the air. I actually came up with this story long after the song was done, which is a super fascinating thing to me, how you can come up with interpretations for pieces of music that weren't necessarily thought about when they were made, this is the image this song brought to me, but anyone else is free to have their own interpretation! Yay! This song placed 3rd out of 13 tracks in Maxis month, with the help of my awesome friends Zach and Ian, who played bass and synths respectively. I did everything else aka arrangement, sequencing, mix, and electric guitars.

Contact Information Your ReMixer name: Ｓｙｎｔｈｍａｇｅ░Ξｖｅｎｇｌａｒｅ (or if you prefer Synthmage Evenglare) Submission Information Name of game(s) arranged : Knuckles Chaotix Name of arrangement: Synth Into Summer Name of individual song(s) arranged: Door Into Summer

ReMixer: janet-wallace Name: Janet Wallace Email: User id: 38384 Game: Final Fantasy IX (Square, 2000) Arrangement: Kingdom of Eternal Ran and Sorrow Song Arranged: Burmecia's Theme Composer: Nobuo Uematsu Game system: Playstation 1 Game genre: RPG DAW used: LMMS About the remix: This is a track meant to be appreciated under different states of mind. A set of Rhodes Pianos playing on both left and right channels to create a sense of urgency, followed by a 8-bit synth and a background drone that further accentuates the melancholy in order to create, or in this case, recreate the desolate, oppressive atmosphere of Burmecia, Kingdom of Eternal Rain through sound. My intention with the Rhodes percussion was to make something that sounded like water ripples clashing against the ground, and I was inspired by one of Peter Gabriel's songs, "San Jacinto'', while composing it.

Previous Decision I'm so glad you all liked my track. Thank you all for the incredible feedback. I've taken another shot at this and tried my best to address all of your comments. Looking forward to hearing from you.

Artist: Lucas Guimaraes, Charles Ritz Oh man, this is a fun one. To celebrate the 25th Anniversary of Ocarina of Time, Ro Panuganti, David Russell, and David Erick Ramos have all teamed up to produce a community charity album called Through the Sacred Realm. I knew that I didn't have much time, so I pitched a simple test: Can I emulate the style of Nujabes? I shopped it around to Charles Ritz with a demo that *kinda* got there. I was messing with every technique that I could. The main technique that got used on this track was writing the arrangement to be slower, and then speeding it up with changing the pitch. Similar to how hip-hop and video game music artists will often pitch samples, but with the full track being the sample. I specifically went after the sound of his second album, Modal Soul. I wasn't quite feeling what I had on the demo, but a few people gave me one piece of feedback that helped: It emulated Nujabes vibes. Charles came back to me close to deadline with a piano track that REALLY vibed with some placeholder bass and loops from splice. It was already sounding pretty good, which gave me a lot of confidence in producing the rest of it. He came up with a revised bass track while I focused on getting the drums there. To go extra on emulating Nujabes, I threw in a lot of sound effects for the ~atmosphere~, I added some Oboe (performed on the EWI 4000s with SWAM woodwinds) and we worked together to add in some vocals. I then mixed it, and then mastered it separate from the one on the album. (Just wanted to get some mastering practice in!) The biggest lesson this project posed is just how far a couple of well done pieces can take you. For a while I've been struggling with producing my tracks instead of just arranging, but this was one where every step of the way, we worked together to see if the changes we were making the track better. This was definitely different in the process, and I'm not quite sure how to replicate it again (I'll certainly try!) but I'm very glad we made it. It's the most collaborative experience I've ever got to have with a track and I hope to share more of those experiences with other people, - including Charles. Source:

Notified artist with the current votes, until we hear back, please feel free to continue voting like normal!

The quality of the arrangement and performances here is undeniable. I have to echo the issues brought by the rest of the judges panel though and call out some obvious balance issues with many of the leads being drowned out by the bass. A few key places where this stood out to me the most was the melodica/violin from :15-:48, the brass ensemble from :48-:55, and the guitar solo at 2:48, which feels like it's being crushed under the weight of the bass and the unrelenting snare writing. You've got some amazing performances and solos that I can barely hear. To be blunt, I think this needs another pass at mixing to really reach its potential. This is a real close call - I usually skew on the side of "with something this full of good stuff, let's keep technical issues in perspective and not hold something flawed but ambitious back from the community" but in this case, I think some of those amazing things are actually being held back by the mix because of how inaudible they are. Think you guys could take a second stab at polishing this a little more? NO EDIT: Yeah, this is good now! YES

"Badass" barely feels like a sufficient enough descriptor to cover what you've made here. You've taken perhaps the most unsettling original song in the entire Celeste soundtrack and ramped up the dread to new heights with sludgy guitar riffs and a deep bass tone that evoke the ice-cold heaviness of Deftones. It's polished and gnarled at the same time. The clean guitars come in at just the right time to provide some contrast to the heavier sections surrounding it. The drums hold things down and know when it's time to get flashy for a few really well-executed fills. What more is there to say? You done good. YES

Wickedly lush chiptune arrangement with an amazing sense of movement and progression - I never feel like we're treading water at any given point. There's truly a great sense of movement on a macro and micro sense, with some perfectly-executed filter sweeps and transitions to jump from section to section, as well as a tasty array of arpeggios and rhythmic bits to keep your heart racing. Easy peasy. YES

Real nice tone to the guitar and piano to start things off. The writing is chilled out and cohesive, nothing crazy going on on any fronts but it really works as a whole! The beat is fine for what it is, but I think there could be a lot more movement to the percussion without sacrificing the chill vibe. The hi-hat/auxiliary percussion specifically feels very static in terms of sequencing, which inhibits the groove from really flowing. The percussion is also mixed with a lot of sharpness in the high end, specifically in the snare and hats. Typically, for a lo-fi approach, you'll want to high-shelf or lowpass filter your drums to shave off some of that high end piercing frequency, since it's poking out dramatically compared to the softness of the rest of the soundscape. Not a dealbreaker in my book, but this is definitely something to improve on your next outing in this style. Pretty easy pass, in spite of its simplicity. I could really see you evolving this style with future submissions but I have no major reservations about what's in front of me. Nice work! YES

This really does feel like one of your more successful sonic experiments experiments as of late - while some of your previous tracks (solo trumpet, mirrored arrangement) utilized a great concept but ultimately fell short of sounding like a complete song on its own, this really fills out the sound stage and demonstrates a full appreciation and understanding of the range of the viola, an instrument that doesn't frequently take the main stage. The intro was really well executed to build tension before the main melody drops in. I found the reverb to be a little overbearing during certain sections, but once the low strings ease up, it sounds nice! I'm not entirely sure but it feels like some surgical EQ on the reverb itself would remedy this. At the end of the day though, this is really technically impressive and also quite enjoyable as a casual listen! Great work guys YES

Hi there this is my first submission i hope i follow the steps correctly. My Artist name is : SovRin Real Name: Ralph Aldridge Email: Websites: https://www.instagram.com/djsovrin/ https://twitter.com/DJSovRin UserID: 38860 Submission Info: The orginal theme is From Monkey Island 2. The track is called" The Escape from LeChuck's Fortress" My Version of this is called Electric I think originally it's credited to Michael Z. Land I didn't find it on the site but i found this one on Youtube: https://www.youtube.com/watch?v=SwEybVtSlbM Additional Info: I grew up in the 90s and Monkey Island and it's music have always meant a great deal to me. The music to this day is often stuck in my head and has inspired not a few of my own songs. This one is the first time that i took Notes from a Midi file. It's called Mi2Escape.midi from Scummbar.com As i mainly do Chipstep or Dubstep with Video game Influences this was really fun to do, although i only took the "background" notes played from the harpsichord mainly, not to Rip off the main theme from Monkey Island which is very recognizable. This track has a lot of my own sound design in it, especially the basses of course, but i try to lead with the playful melody of the original track. It also has a little not towards Last Ninja in the Intro but that was just a gimmick. I took mainly 2 parts of the harpsichord melody and worked it into a 128BPM rhythm (the original being quite chaotic and all over the place) and switched it do D#. Overall it took roughly 13 hours to make, was quite fun and i hope the reference is audible. If not let me know. Best Wishes, SovRin EDIT (12/4): sorry for the additional email, but i noticed i sent in a "muddy" version of the song, so i wanted to send in a newer version. This one is final from my side

Previous Decision Hi, thanks to sent this mail but I had already read it, i work on it, this is my last mix ready for a new submmit . Hi i want to send to summit this mix My name remixer : AdriánDBAremixes My real Name : Adrián Fernández Sanmiguel My Web Adress : https://deadbyaccident.bandcamp.com My user rid 38736-adriandbamixes Super Mario 64- Bowser Road

cooliscool Jeremy Johnson https://soundcloud.com/jeremy-johnson-850853006 & https://soundcloud.com/jeremy-johnson-24 (I have no personal website) 38856 Metroid II - Return of Samus My World over world Theme Ryoji Yoshitomi, for Nintendo Gameboy, 1991 I wrote this quite by accident during an improv/practice session. The chord progression came about by intuition, and I realized quickly that it would represent a great version of this wonderful tune. It is sparse, but I think the elements are quite strong in harmony. Enjoy! I also have a 7 minute long extended version available. Sorry for being g negligent in reading and following the guidelines first. Thanks for your consideration!

This is an interesting one that is going to take a bit of time to unravel. As best I can understand, Josh created an original piano arrangement of To Zanarkand which is based on the Distant Worlds II version of "To Zanarkand" but also incorporates aspects from the Piano Collections which, as best as I can tell, only exists as sheet music. I don't think his piano chops are even remotely in question - the piece sounds beautiful, but it'll be interesting to see how this holds up to scrutiny and if there's enough original adaptation to stand apart from the Distant Worlds official version.

Josh Winiberg http://www.joshwiniberg.co.uk 38855 Final Fantasy X Zanarkand - Distant Worlds Piano Version Zanarkand Nobuo Uematsu This is a solo piano reimagining of the Distant Worlds orchestral arrangement of Zanarkand. As a result, the while the structure is significant different, much of the arrangement is draws from the Piano Collections version, until the new themes and counter melodies half way through are introduced with the keychange to Bm. This arrangement was released on the usual streaming platforms on 17th November 2023. Best, Josh

Scintillating intro, the mood created is similar to Ruined World meets Vangelis before finally breaking out into melodic guitar riffs supported by all of the different instrumental and synth flavors that you could hope for as a listener. The mud present in the original version has been cleaned up now and this track is far stronger for it. On the arrangement side, I actually listened to the remix first, and then found myself surprised at how little there was to go off of in the original, and simultaneously how quickly it connected. I actually picked up on the laughing sfx-to-detuned guitar plucks connection immediately and found that to be a super clever way to maintain source usage outside of just the droning chord progression. This is an immaculately produced homage to Pink Floyd that, thanks to Zach's willingness to revise, is now sitting pretty in my book! YES

New version up! @DarkSim @Gario @MindWanderer @prophetik music @Liontamer Let's see if this new one is enough to flip any votes and close this out.

Diablo I & II Tristram Theme Diablo has to Synth Diablo released in 1996 and the rest is history. Composer of the game's soundtrack was Matt Uelmen. Original soundtrack : Diablo 1 & 2 Soundtrack - Tristram Theme - YouTube In an alternate world Tristram is a cyberpunk Town. Matt Uelmen wrote this magnificent music for Diablo (video game) using his guitars (mostly).Synthesizers took over Tristram and Diablo opened a portal to a cyberpunk world, called the "80's". Contact Information 7DD9 George Karagiorgos Music | 7DD9 (bandcamp.com)

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

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.

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