Emunator

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

Hah! I literally had Artist in the Ambulance open in Spotify when I pulled up this thread, the Thrice influence is quite obvious! This is certainly unlike anything we've heard on OCReMix before, save for perhaps some of Moiré Effect's alt-rock covers, and it checks all the boxes well. The vocals sound professional quality, and you nailed the genre conventions in terms of tone and performance across the board. There are a few slight shortcomings in the mixing in terms of the vocals being buried, and the high-range vocals at 2:37, while super ambitious, lose a lot of volume and get lost in the mix as a result. All things said though, this rips unequivocally - thanks for bringing a severely-underrepresented genre to our catalog with style and polish! 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

"It feels like whatever feeling you want to find in it can be found." I could not have possible said it better myself. This speaks to Michael's talents as a sound designer and an arranger, and the beauty of the Breath of the Wild score itself. It's a blank canvas, waiting for you to imprint your own stories and memories onto its amorphous textures. I love this piece because, as I'm reading through the other judge comments thus far, I agree with every adjective and image conjured but also don't know if I would have used any of those myself. I feel serenity, weight, solemnity, weightlessness, beauty, and so much more that language can't quite capture. I can't wait to see what others hear in this. 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

Credited Artists: Emunator: Arrangement, sequencing, orchestration, mixing Shea's Violin: Lead violin Additional Credits: Chimpazilla: additional mixing (bass), mastering Comments: This is my 3rd round submission for Darkesword's Game Set Mash!! competition, and I think it's my favorite of the three. Knowing that our PSX team was behind in total points leading into the final round, and that we needed to win this matchup to even stay in the running, I knew I had to go all out. No half measures here. Over the next 10 days, I put roughly 60 hours of work into this arrangement, crafting easily the most heavily-layered, orchestrated piece I've ever made. At the end of it all, both teams were tied in points, so I guess the real victory was the friends we made along the way?? My elevator pitch for this arrangement is "What if James Horner composed the score to Avatar like normal, but he dropped acid for 30 seconds in the middle of one of his sessions?" My other key influences here were the Ori and the Will of the Wisps score, specifically the Windswept Wastes theme, and E-Bison's classic Xenogears remix, Zeno Paradox (I spent so much time trying to capture the magic of the surprise bass drop featured in Elliot's track, and while I don't think I was nearly as successful here, I've always wanted to pay homage to one of my all-time favorite OCReMix arrangements.) This ended up being a fusion arrangement in the truest sense of the word, pulling influence from Chinese, Arabic and Indian composition styles as well as contemporary western film scores. I let the character of the two sources drive the arrangement initially, but didn't hold myself back from exploring other pathways as they opened up. The final project file used over 180 plugins, 250 channels, and 25,300 MIDI notes, so instead of attempting to break down the production or tools used, I'll just let the music speak for itself. After the competition was over, I went back and did some minor polishing to the mixing, tapped Shea to record a more expressive version of my sequenced violin performance, and asked Chimpazilla to lend her secret mastering magic to finish it off, but aside from that, this didn't need too much reworking to get it to its current state. I'm walking away from the competition with a sense of confidence in my ability to work quickly and decisively without having to make compromises on my vision. I'm truly grateful to Shariq for providing that avenue to expand my musical skills and meet so many wonderful collaborators and friends in the process. Team PSX for life! ?

I can't say I'm hearing the same resonant frequencies that MindWanderer called out, and I've listened to this on three different setups. I wouldn't be surprised if there were certain frequencies that inadvertently popped out due to the nature of the arrangement and how many filter sweeps you had to employ to emulate that classic Daft Punk sound, but it's not an issue for me personally. I have to say that, in my eyes, this is one of VQ's most successful musical outings to date, and really encapsulates so many of the things I enjoy about her music. There is absolutely no shortage of ambition here - that much was evident by the 26 source breakdown (good luck to whoever ends up doing the metadata tagging on this one!) It's making a clear stylistic homage that understands what made the original reference so great, but isn't limited to just the bounds presented by the original. The addition of the acoustic guitar and trumpet/sax feel right at home in the Daft Punk cinematic universe. You clearly have a LOT of love for the Metroid canon and it shows here, but what I think I'm actually most impressed by is how focused this arrangement feels despite the myriad of sources referenced and the number of ideas thrown on the table. At just over 4 minutes, this doesn't overstay its welcome or come across as too repetitive (which, at the risk of committing sacrelige, I can't always say for some of Daft Punk's original work.) I think a major part of the cohesion is the consistent groove and the Artifact Temple arpeggio, which serves a grounding role in the arrangement that everything else can spin off of. I understand the temptation to create massive, sprawling arrangements that are loaded with ideas, and that approach has a place, but I really admire your restraint in crafting this arrangement - there were some great editing decisions made along the way. The production is imperfect, sometimes in a way that intentionally evokes Daft Punk's gritty sampled aesthetic, and other times in a way that feels like the mixing just isn't 100% there yet, but this track came a long way from the earlier demos and I can reasonably say that you got it good enough. I think this is something you'll look back on and see small ways you could improve your craft, but I don't really have any hesitancy passing this through in its current form! YES

How the hell have we not had a proper Wii remix until now? I can almost guarantee that this is destined to pop off with our casual listening audience, regardless of the quality of the piece itself. The youth loves their Wii music. Luckily, the quality is there regardless! ? This is a very intimate ensemble that enters as a mere whisper, and although I was admittedly expecting it to really blow up and go full Big Band at any moment, I think the approach you took works even better. Even when the energy level picks up around the 2 minute mark with some bigger brass chords, which are delightfully arranged and performed, it still feels extremely intimate. Greg's lead winds, unsurprisingly, are another star of the show. Really, there's not a weak link in the arrangement - I did pick up on some of the blocky sequencing on the piano, such as the run at :46, which may be due to technical limitations on the sample library, but that's such a minor nit to be picked that it's barely worth mentioning, especially when the piano tone and writing itself fits like a glove. You're destined for greatness, kid! YES

"I really just wanted to walk the core melody out into the cold sunset." What a beautiful turn of phrase that perfectly captures the intangible feeling I get from listening. This arrangement evokes such a pure sense of nostalgia and timelessness while simultaneously feeling incredibly modern in its production choices. The washed-out dream pop guitars and keys and Tame Impala-style filtered drums could genuinely go toe-to-toe with professional indie pop productions from the modern age. It's a testament to Trevor's meticulous attention to technical details and an incredible ear for building a satisfying sound palette. The arrangement itself is fairly no-frills and doesn't delineate far from the initial concept, but does exactly what it needs to, stripping back the iconic Snowman melody back to its core and reshaping that into one of my favorite OCReMix submissions that I've heard in years. 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

Name: Michael Hudak Website: https://michaelhudak.bandcamp.com/album/polar Game arranged: TLoZ - Breath of the Wild (also appears in Tears of the Kingdom) Song arranged: Purified Dragon (YouTube link) Name of my ReMix: Guided to the Infinite (Google Drive link) This is my contribution to the album accompanying the excellent The Impact of Iwata project created & spearheaded by Lucas M. Thomas of Nintendo Force. He wanted each chapter in the audiobook version of the release to have a corresponding piece of music and reached out to OCR musicians to help. I chose to write something for the final chapter, Remembering Iwata, re-imagining music from Breath of the Wild/Tears of the Kingdom (per Lucas' wishes). I chose to remix Purified Dragon; without explaining too much, I'll just say that I think its in-game importance and usage thematically reflects the essence of a "last chapter". Thanks again to all judges. This is my first submission in the DarkeSword era - neat. Time does fly. - Mike

Main ReMixer name: TheManPF (User ID: 35318) Additional artists: Zach Chapman; Na Daoine Laghairt (evilsonic; Ian Martyn; Ronin Op F; Andromeda; atomic; DregsHeartRender) Submission: Game: Shadow of the Colossus Name of arrangement: On the Shoulders of Giants Songs arranged: Prologue; The Farthest Land; Demise of the Ritual; End of the Battle Original composer: Kow Otani System: Playstation 2 Year: 2005 Comments: Earlier this year, on May, I worked on a supercollab for Dwelling of Duels Playstation 2 month, where me and Zach worked with the folk group "Na Daoine Laghairt", comprised of several DoD regulars who are very skilled at putting out celtic style music. We chose Shadow of the Colossus, and did a folk/metal tune that ended up placing 7th out of 23 tracks. I haven't played the original but I played the 2018 remake which stays mostly untouched and enjoyed the experience, I wanted to arrange something that would evoke that folk melancholic style while also bringing power through distorted guitars and full choirs. The song is mostly comprised of two parts, which are sandwiched by the other two sources: -First 30 seconds taken from "Prologue" -0:30 to 2:10 is taken from "The Farthest Land", with a small original section added at 1:39 to work as a transition -2:10 to 3:28 is taken from "Demise of the Ritual", the final boss of the game -3:28 to 3:55 reprises a section of "The Farthest Land" -Last 40 seconds are taken from "End of the Battle", the original is pretty dramatic, I decided to stop on the major chord to give it more of a happy ending The lyrics for the chants and choir are written in "Runic language", a fictional language written for both Ico and Shadow of the Colossus, and it's mostly romanized Japanese inverted with some vowels removed. I wrote the lyrics after going through a bit of a down period I had where I was feeling musically exhausted and couldn't get to the same highs I had before, sort of a "pride before the fall" feeling, you climb to the shoulder of the giant, but then you fall again, and then you have to climb back up. Full credits: TheManPF - Arrangement, lyrics, sequencing, mix, electric guitar, vocals Zach Chapman - Bass Na Daoine Laghairt is: evilsonic - Acoustic guitar, mandolin Ian Martyn - Whistle, Irish bouzouki, percussion, vocals Ronin Op F - Violin, vocals Andromeda - Vocals atomic - Baritone ukulele DregsHeartRender - vocals Lyrics: Awie o etmotm Irkuy oppi ustz shatw Aw njoyk on atk in urbn Irkuy oppi ustz shatw Aw njoyk on atk in urbn Asid in omett iakch Amnakst on naknsh Urbn, ukgm Uansh oknk Ukgm, urch Askikm Urdm in nmij Shatw aw njoyk On atk ark urch Asid in omett iakch Amnakst on naknsh Urmazm, urmazm Onk umk ark urmazm Nnmr

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