anachromium

Meh, no chance of getting the vote in this time, got held up. :/ But as a good side note, I didn't had to choose for a winner this way. Loved all four tracks, great work everyone! Congratulation @Souperion on taking the win! Well earned! I might try and post a little bit of feedback tomorrow in this thread, if you want.

Unfortunately no entry for me this time, even though the source screamed for some baroque-style-arranging. Maybe next time. Still looking forward to what you all got!

Congratulation @Wassup Thunder As I wrote in the comments, that one was very enjoyable and it seems you didn't only meet my taste there! But also again to all the others: congratulations on your remixes! As I got into time trouble yet again, even after the 20 hour grace period, I hope the comments on the vote are helpful in one way or another. I just didn't finish them in time to proof read.

My vote's in. You have no idea how hard that vote was for me. Having the burden of double points when wanting to give everyone a first place is simply cruel. Good job everyone, great stuff!

Oh gosh, thank you!! I completely missed the ending of the compo and the whole voting stage. A bit much on my mind these days - same reason there's no bonus entry from me. Guess, I was lucky. But as I stroll through the posts, it seems that timing wasn't only an issue for me.

Thank you for the explanation @Bundeslang Guess you have me there. What I wanted to say was, that I arrange my pieces the "old way", writing a score, recording it, and then probably start shuffling around parts. Something like that, it's a weird workflow somewhere between digital and analog working where I'm not sure if the word "flow" satisfies its meaning.

As a professional brass player myself, the first thing that comes to mind is: Wow, extremely well written and performed, congratulations! I personally would even consider this finished, not Work in Progress, but if you're willing to change things up, some points I'd find worth considering (and only considering!) would be: The intro is really nice (and I like a good intro!) but it takes a while to get going and maybe the arrangement would work better as a remix when starting straight away with the theme, or maybe with a start at around 1:23? Could also be perfectly fine the way it is. I personally find the ending a little sudden, but as I can't really pinpoint to why exactly I feel that way I might as well be hearing ghosts. Not exactly a point, more like an idea, but maybe exchanging a few of those horn voices with Wagner Tubas might be additionally enriching for the arrangement? Asides from that I'd fully second everything Dhsu has written! Great work and good luck!

Congratulations to everyone and especially @TheVideoGamer ! Well deserved win! And thank's again to everyone for the kind and instructive feedback! So, do you reverse the MIDI or the audio to start the remix - or both? I'm a little curious about that workflow. (Never done actual remixing, only the type of rearranging you heard in these competitions.)

Nice source picks! I assume it's fine to only remix one of the sources?

I have to admit, I never got to play Turrican myself (should probably change that sometime), but I really got hooked by the music, when I heard it's Main Theme on the "Symphonic Shades" album couple years ago. Simply amazing stuff, here's the live performance of it. Already looking forward to hear what ya gonna do with this one! And also: thank you for the MIDI, but I think I did attach one. The link is above the Youtube link in bundeslang's post. But as I'm not sure of how good it really is - it looked okay though - a second source is always nice to have.

Got my entry in too, and: Oh yeah, this one was a lot of fun!

Found that today by chance. He pulled it off quite well for playing every instrument by himself. Bad thing only... I wanted to do something along those lines myself

Thank you so much! Don't worry too much! There is some truth in early impression feedback that gets lost, when listening twice or thinking more analytically about a track. But that's so important too, because after all that's how people decide whether they like our music or not - on first glance and very often without a second listen.

Wow, thank you so much everyone! This one makes me really happy and I'm glad you all could enjoy the track! (And as more people asked in the comments: no french horn, everything you hear from brass is trombone. Alto trombone for the recitative in the beginning and + first quiet organ-verse and tenor trombone for the accompaniment and the solo at the ending.)

My vote's in without complications. Seems fine to me.

Indeed interesting perspectives! So many things to discuss and so little space in a thread. I know that Schönberg and Stravinsky can bit a little bit heavy on the newcomer, that's why I recommended his early works like "Verklärte Nacht" which still is very much in the realms of tonality, but he already bends it heavily - which was befitting the question I assumed. (He was around 25 when he composed it.) But maybe I was overambitious - one never knows. Always reach for the stars. ;) The grain of salt I'd like to give back, as I'm only a musician, not a neurologist. I didn't know that people lose perfect pitch, that's completely new to me. And just to clarify: I fully second your point, that you have to train it. Perfect pitch without training is probably no big help, but I also don't know, how one without the ability could train it and get even close to one, that could do it as long es he could think. I don't think I have it, but I can - at least on my instruments, that I practise daily - guess the played pitch relatively accurate. But I also don't think, it's a necessary skill to call a note by its name when hearing it, without any context - as long as you don't sing contemporary music, there it's an extremely big help. On the other hand relative pitch hearing I would consider extremely important, this is also what Mr. Beato recommends at the end of the video. The rest, being able to imagine a timbre for example, I would consider "visualisation"-skills that can be trained like any other skill - and should. (I relate this heavily to the way a chess master is visualising the chess board and the pieces, which feels extremely difficult, but is surprisingly easy - don't say it's easy, just easier than I thought - once you realize that it's just so hard because your brain has never done it before.) Now I've been rambling. But you can always reach out to me via PM or on discord (I've been attending the thasauce server for a couple of days) if you'd like to discuss some points further that would blow this up too much. This is interesting stuff. ;) (Same offer to @The Vodoú Queen if you have any questions whatsover regarding what I said!) Always an open ear, especially in these times where social distancing is the rule rather than the exception. And nothing's better than a good, respectful discussion that everyone leaves a little bit wiser than he/she entered.

Love that tune! (Gosh... why is it so hard, to even come up with an idea? I listen to the tunes and they always sound perfect to me the way they are. And then you come up with remixes that feel so natural as if they were supposed to be that way from the beginning. Just: how do you do that? )

And my entry's in too!

And the same for me too! Got a nice idea and this time no tea over laptop is going to stop me cause im using my old PC.

Sorry on my part too for being a bit late. The dissonance thing is a tricky one to get right, because of two reasons that usually intersect. a) The more often you listen to a part, the more you get used to the dissonance. This is tricky, because one loses the ability to feel how the dissonance is perceived by first-time listeners. I personally tend to give the piece a couple of days at rest and give it a fresh listen, trying to catch up on everything that strikes my ears immediately. b) What do you want to achieve with the dissonance? Just make it sound "wrong" or do you want to lead it into another direction? For the latter, I would advice: listen to Richard Strauss. His music is full of crazy harmonics, especially his later compositions, or maybe the early Schönberg. ("Verklärte Nacht" for example.) This composers were masters of harmonics and they challenge us performers every time we play those compositions, because WE have to get the harmonic directions right to make the piece sound like it should. When you deal with MIDI: try to pick up the notes, that sound too "wrong" for the purpose you want, and adjust them a little bit. Fiddle around, until you find something that works - it's often tiny changes in melody, that adept it to a new key. For example, for PRC422 (Undertale - Ruin) I'll use the first bar of the theme as an ostinato-style bass figure, but as I'll play with the chords and the melody above, I'll have to change a note here and there until it fits together again - which also makes the composition a little bit more interesting most times as it's not always the same then. I have to disagree with @TheVideoGamer about perfect pitch. I don't think one can train it - but I also think you don't it. There is so much more to listening skills than just identifying what note is played exactly, and training those other skills is far more important than that. Put on some good music and listen actively, search for everything you can hear, look out for the timbre and all the "little things" one isn't suppose to notice. I do it all the time when I'm sitting in the orchestral pit. (As a trombone player I have plenty of time during an opera! ) I'll close my eyes and try to identify all the different instruments, where they are, how they sound today, maybe try and figure out who plays if I haven't seen the colleague before the performance. Hope, this helps you in any way. And before I forget, three last points: There are no stupid questions. "Music theory" is only the scientific way of saying "Mozart and Bach did it that way". Stay curious - that's all you need!

Congratulations TVQ and thank you all for your kind words! (I hope my own criticism isn't too harsh or detailed at parts, but I try to be very detailed and verbose about what I hear. Just give me a quick PM if one of you feels like it's too much!) @The Vodoú Queen: Without any doubt you ARE good at making music and you seem to always have a couple of good ideas for all sources, which is a talent in itself. Therefore I would be happy to do a collaboration! Only thing is: I am really bad at composition - which is the reason why I'll try to stick to this competitions longer this time - and I'll probably stay with my acoustic approach and aim to develop my remixes/arrangements around the trombone and the other stuff I have direct access to, which is a little collab-unfriendly in my opinion. So there's probably no offer to be expected from my side anytime soon. BUT: If you ever want some trombones in a mix of yours - even if it's only chords, or to be precise, especially if its only chords: just message me and I'll give it a shot! (Time is one of the things I have plenty of these days.)

Got my draft stuff in as a Bonus remix as I just found an old export I did somewhere at the beginning. If anyone likes the ideas and wants to do a collaboration on this track I'd be happy to engage! (Edit and Offtopic: Does by chance anyone of you know if one can change its username on thasauce too or shall I just make a new account? Is ThaSauce linked in any official way to OCRemix?)

Dear fellow contestants, I fear, my entry just died due to "tea on laptop" reasons. (I knew I should have sticked to my one-sip-only-Espresso...) While I hope, that there's not too much damage there's probably no chance for using it to record or mix anything before Wednesday - and that only if I'm lucky.

@The Vodoú Queen After hearing your tune I already hate the fact that most of my equipment is ~900km away. @TheVideoGamer And this tune makes me wish my loop station wasn't with "most of my equipment". Great choices! Hopefully I'll get something done this time.

Even though it's too late for this competition, I'd really like to do an acoustic guitar + trombone version of this theme, if someone was interested in a collab? I got the feeling that this instrumentation could tribute the original feeling really well.