Emunator
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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:
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Notified artist with the current votes, until we hear back, please feel free to continue voting like normal!
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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
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"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
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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
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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
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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
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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,
SovRinEDIT (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
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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 mixMy name remixer : AdriánDBAremixesMy real Name : Adrián Fernández SanmiguelMy Web Adress : https://deadbyaccident.bandcamp.comMy user rid 38736-adriandbamixesSuper Mario 64- Bowser Road -
cooliscool
Jeremy Johnson
https://soundcloud.com/jeremy-johnson-850853006 & https://soundcloud.com/jeremy-johnson-24 (I have no personal website)
38856Metroid II - Return of Samus
My World
over world Theme
Ryoji Yoshitomi, for Nintendo Gameboy, 1991I 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!
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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.
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Josh Winiberg38855Final Fantasy XZanarkand - Distant Worlds Piano VersionZanarkandNobuo UematsuThis 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
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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
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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.
QuoteOkay, I made some changes based on the judges' feedback that I do think make the track stronger:
Notes:1. The beginning low rumbling pad was a patch from Newfangled Generate, and while it wasn't actually distorted/clipping as the judges thought, there was a subtle pulsing synth lead buried in the patch that was coming across as clipping. I had chosen it for the movement the patch generated, but I agree that it was muddying and unnecessary. I replaced the entire pad with a Solina-style pad that is much more pure and subtle to let the intro breathe.2. The middle section is more scaled back to address the "droning" criticized by the judges. I was initially concerned of source percentage and thought that the constant notes were needed to stay truer to the source. With the judges' assurance that source isn't really at issue here, I did a few things:a. Replaced the organ with a reeds electric piano, which gives chord structure without a "droning" sound.b. Removed a few of the other pad-like drone sounds.c. Took out some low-end of the bass guitar.d. After scaling back the droning synths, added in a subtle Solina part under the guitar solo to replicate the OST dyads, both to fill in some empty space and to tie the track to the original. I think it works really well without being grating.I appreciate the feedback and am pleased with these revisions. Happy to revise more if needed.Zach -
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
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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
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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!
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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!
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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!
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@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!
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"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!
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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
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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
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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)
OCR04597 - *YES* Mario Kart 64 "Troppe Houseland" *RESUB*
in Judges Decisions
Posted
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.