Let me begin by saying the three of us are delighted to see this made it onto the site and have collectively laughed our collective arses off at the idea of writing a deeply analytical submission email for six minutes of flatulence. I believe NuPharazon in particular suggested we could still submit such a ReMix under the title "You Asked for It", although I'm not sure I'm willing to put in the amount of effort it would take to craft a lengthy piece of music from tuned flatulence.
Souperion: We're quite pleased you like the ReMix, and pleasantly surprised by the positive reception it has received in general. You're pretty much the target audience here, as we put it together primarily with Metroid (especially Prime) fans in mind, although I also believe Twilight Princess in particular indicates that the tastes of Zelda fans are more diverse than many people (and Nintendo in particular) estimate.
PhoneticHero: I'm relieved that you (and presumably others) can pick up on the noise elements in the final export; we did a lot of production contortionism to try to keep them perceptible but subtle. The final export was over a year ago and my memory's a bit hazy, but I believe I ultimately put more time into sound design and post-production than composition/arrangement elements, because that's just appropriate to Yamamoto's work in particular. I'd be thrilled to see a Prime-themed patch for Serum, or indeed any plugin I can affordably get my hands on; as much work went into this, I'm not entirely satisfied with certain of the elements we created (particularly and especially those damned alarms), and there are parts in which I would rather have had something more authentic and directly derivative.
LamanKnight: I'll admit I didn't expect djpretzel to include the entire (excessively comprehensive) submission email, but as we included it mostly to provide context for fellow intellectuals (who comprise the majority of the OCR community, from what I've observed), it's certainly gratifying to know that people are getting something out of it. Also, I love linguistics in general, half of Nu's planned ReMixes began life as clever wordplay, and Yargami eats, sleeps, and respirates puns. You're in good (or possibly deranged) company. ;)
gravitygauntlet: We actually don't use preexisting MIDIs; while I'm sure there is plenty of talent in MIDI sequencing, I'd rather trust my own ear and interpretation over that of someone whose music background I can't know. That being said, you're spot-on about the guitar solo being as close to the original as humanly possible - I basically plopped the Echoes sound file into a track, cut out some of the frequencies I didn't think contributed much to the solo itself, sequenced a guitar part over it with Ministry of Rock 2, and then mangled it a bunch in post-production. As Yamamoto writes a fair amount of industrial noise music, we collectively decided to treat the atonal elements from the original as carefully-selected compositional elements, particularly the guitar solo he reused (albeit almost inaudibly) in Corruption, and thus we were much more cautious about altering them than we were with the much more easily recognizable melodic elements. I do share your (and several of the judges') misgivings about that part of the song, though; it actually took the three of us quite a few iterations to reach a consensus on how it should be implemented, with Yargami suspecting I had put too much focus on the gated pads, mangled string section, and atonal choral work (the latter of which is regrettably quite inaudible in the final product as anything more than, well, excessive sound compression) and NuPharazon being concerned that our early exports excessively buried the guitar solo (her favorite element) amidst the rest of the very flooded soundscape. That being said, we're glad you can appreciate the rather nonsensical production methodology we ended up with, which was also a subject into which we put a lot of thought; industrial music is all about raw, visceral, in-your-face crunchiness, space music is about saturating the soundscape as much as humanly possible, and thus combining the two basically means accelerating two mutually exclusive philosophies at each other and hoping something interesting happens when they collide. I suspect that works better for CERN than it does for us.