Gario

Contact Information Your ReMixer name: Your real name: Your email address: Your website: Your userid: Submission Information Name of game(s) arranged: Name of arrangement: Name of individual song(s) arranged: Your own comments about the mix:

Previous Decision Remixer name: Bluelighter; Peíorele ID forum: 21840; 34182 Game & Songs: Skies of Arcadia & Sailor Town Arranger: Bluelighter Interpreter: Peíorele (Trumpet solo) Composer: Yutaka Minobe, Tatsuyuki Maeda Link: https://www.youtube.com/watch?v=YegyGi2YdfY Album Project: Skies of Arcadia Skies of Arcadia Soundtrack - 18 Sailor Town www.youtube.com Compositeurs : Yutaka Minobe, Tatsuyuki Maeda Éditeur : Sega Développeurs : Overworks Plate-Formes : Dreamcast, Gamecube Dates de Sortie Dreamcast : 05 Octob... Precedent decision: http://ocremix.org/community/topic/43844-no-skies-of-arcadia-a-sailors-respite/ *NO* Skies of Arcadia 'A Sailor's Respite' - Judges ... ocremix.org Remixer name: Bluelighter ID forum: 21840; Real name: Guillaume SAUMANDE; Game & Songs: Skies of Arcadia & Sailor Town Composer: Yutaka Min... Hi OCR, Here is a new version of my mix of "Sailor Town". Main improvements: - Real trumpet player where it needed (pt4, 5, 6, 9) - Cleaner sound for brass in staccato (pt5, 6) - Harpsichord a little louder for the melody I really thank Peiorele for his collaboration on this remix! Enjoy Breakdown: Original Start: ML1 (Melodic Line) 0'14 ML2a 0'28 ML1 BIS 0'42 ML2a BIS 0'56 ML3 1'10 ML4 1'24 ML1 1'38 ML2b 1'53 ML5 Mix Pt. 1. INTRO based on ML1 (soft & march band) Pt. 2. 0'26'' ML1 soft Pt. 3. 0'50'' ML1 march band Pt. 4. 1'13 ML2b march band Pt. 5. 1'43 ML3 soft (with progression in instrumentation) – time signature in 11/8 Pt. 6. 2'19 ML3 march band – ML2a with brass adapted to this specific harmony – time signature in 11/8 Pt. 7. 2'43 ML4 march band & soft Pt. 8. 2'58 ML1 soft Pt. 9. 3'11 ML2a soft – marching band – time signature in 15/8

Hey, a Guile cover! Awesome. John is correct that this is absolutely close to the source, but I disagree that this is a problem - y'all do what you want to do. I always like to make it clear that there's no such thing as "too close to the source" unless you're submitting to OCR. As far as the rest of the track is concerned, I think you made some great choices with the lead instrument (it sounds synthetic, but it sounds pretty neat nonetheless), and the choir is definitely something that can work. However, the choral pads are very wet as they stand, which makes them sound like they're from a completely different piece. Outside of a church choral arrangement I can't imagine when you'd need your choirs to be that wet. John makes a really good point on writing idiomatically, if you want to make an authentic 'epic orchestral' piece. Though that's always up to the arranger, it's wise to take note of how instruments have been used in other orchestral works in the past, and write your instruments utilizing these idioms. This is one of the more advanced ways to make a piece of music sound authentic and realistic and it's not easy, but oh man is it worth it if you get the hang of it. In this case, rather than listening to Mahler and Brahms (as amazing as they are) I would suggest studying Williams and Horner, since those are styles you'd be closer to emulating. Or not; the track doesn't sound terrible, per se, but it doesn't quite sound like an epic orchestra, either. Always up to the artist what they're going for, but if you're making an epic orchestral arrangement/cover then you'd be in better shape to do so by doing your homework on how other artists and composers get that "epic" sound out of their instruments. Thanks for sharing!

Previous Decision ReMixer & real name: Eino Keskitalo e-mail: Names of games arranged: Chrono Cross, Star Control 2, Wonder Boy in Monster Land Name of Arrangement: Liskojytä Names of individual songs arranged: Lizard Dance, Syreen Theme, final dungeon music Sources: Lizard Dance (main source): https://www.youtube.com/watch?v=elZubKOdV3c Syreen Theme: https://www.youtube.com/watch?v=yXF4sHVMGwY Monster Land final dungeon: https://youtu.be/MGeBKcyic5M?t=697 MP3 link: FLAC link: Here's a resub based on the excellent judges' feedback from last round (http://ocremix.org/community/topic/46030-no-chrono-cross-star-control-2-wonder-boy-in-monster-land-liskojyt%C3%A4-project/). Also got some valuable additional feedback from Jorito. I pruned some stuff from the mix (why do I have everything going on at all times anyway?), tuned the EQ, percussion bitcrush and reverb for additional clarity, and added some variation to the final 'verse' section. I certainly feel the end result is much better now. Cheers! Original notes below: I've had a couple of Chrono Cross arrangements from People's Remixing Competition lying around since 2013 that I've been wanting to finish, so I (once again) took the opportunity of an appropriate album project to finish up this one. I had been working on it since then at some point, there was basically only polishing to be done. I had lots of it in mind, but thankfully Brad's enthusiastic response to the track made me realize it was already close to good enough. That final stretch to good enough did take plenty of effort though! The Lizard Dance is a pretty cool one-chord jam.. I added a little bit more bass movement in this arrangement. There's also the bit where I've taken two lines and separated their tempo, cutting the other in half and other in 1/4, and bringing it up in steps.. the harmony ended up not matching so well anymore, so there was some tweaking there. Overall I remember wanting to experiment with chip sounds over rock drums back then, and that's what all the sounds are here, simple wave forms apart from the drums. There are a couple of cameos from other games, one from Wonder Boy in Monster Land - the final dungeon music, and one from the Syreen theme in Star Control 2. The background instruments (left and right panned) play them during verses, especially prominent during the second one. A huge thanks to Brad for directing the project and cheering this one to the finish line!

It's a fun idea to have the Marvel universe all come together and all, but I'm thinking more in terms of Disney's monopolistic tendancies when I say I don't think this is a good thing for the rest of us. They have the tendancy to dig their copyright-law claws hard into IPs and franchises that make them lots of money. I'm still rather pissed at em' for changing copyright law to extend their Mickey Mouse rights constantly, which is preposterous. If the merger happens I think there'll be some cool short-term gains, but I don't think it's healthy in the long term to have one company in control of so much IP, especially when they've got a record of not letting things go once they've got hold of it.

Third time's the charm, baby, which totally is the case here. I can hear the cleaning up that went into this - no more snare being drown out by the more crowded portions. I like the variations you made to the lead instrument, as well - you didn't change the instrument itself, but you artfully play with the parameter envelopes to give it some much needed longevity. Being crowding and lead variety was what I hit it on before and these things were addressed, I think it's good to go now. Nice work, and thanks for sticking with it! YES

Previous Decision ReMixer Name: Tonalysis Real Name: Jeff Morrow Email: User ID: 31683 Name of game(s): Beatmania, Dance Dance Revolution Name of arrangement: Epic Steps Name of original song: Sync Composer: Outphase (Taku "TaQ" Sakakibara and Takayuki "dj Taka" Ishikawa) Link to original: https://www.youtube.com/watch?v=_-UxUJ6P8nU Link to remix: Comments: Frequently, fans discover artists through OC Remix. In my case, I discovered OC Remix by first discovering zircon through Pandora. After learning the basics of how to use FL Studio, and taking a few lessons from zircon himself, I decided to try my hand at remixing. I'm a long-time DDR fan, so I decided to pick my favorite DDR tune as my first submission. My goal was to take the track and make it even more epic. Thanks for considering my remix. EDIT: this is (another) resubmission based on previous comments by OC Remix judges.

Oh hey, I remember this track. There's not too much I can say past that this very nicely addresses the issues I had with it prior. The mixing is consistent, and I hear the little changes made to make that drum part drone far less than it did. Glad to see you resubmit this - let's get it up soon. YES

Previous Decision Name of game(s) arranged: Super Mario Bros., Super Mario Land Name of arrangement: I Accidentally the Whole Mario Name of individual song(s) arranged: Super Mario Bros. (Overworld), Super Mario Land (Overworld) Link to track: Hi, friends! This is a resubmit. I do apologize, but I seem to have lost the original email thread, on my end. Maybe you still have it on yours--here's hoping. This time, I've revised the arrangement in accordance with your feedback--thank you very much--and called in my good friend and collaborator Tanner Brown, AKA "tanner4105," to do the mixing and mastering. If you post this, please credit it to our production collective The Grammar Club, which you already have an entry for in your system. If you'd do us the solid favor of linking to our Patreon, as well, that would be just fantastic for us. Best wishes, -Shael www.patreon.com/thegrammarclub

Talk about obscure; never heard of this game before even in passing. I swear I thought this was going to be an Undetale remix at first glance, for obvious reasons. As far as this arrangement goes, it's a pretty conservative arrangement. The style is a nice change-up and it very well adapted, but for some time it does go note-for-note (even the drums are the same as the source, for some time!). The final third of the arrangement spices things up with a slick solo to give it some more personality, which helps steer it away from being too conservative for OCR. I'm going to say this is alright, changing the style and writing so it's idiomatic to classic rock and adding a solo at the end, but I could see others being justified in saying it's too conservative, as well. The performances on this are quite good, especially with that solo at the end. The production gets a little crowded toward the end, and the lead guitar is just a little behind in the mix, but I don't think these items alone take this below the bar. I could see this swinging either way based on the combination of minor production issues and overly conservative arrangement, but I think it's over our bar here. Nice work, and best of luck on the rest of the vote. YES

If this passes I think it's a safe bet that the title should be something other than the name of the game itself. Just sayin'. - Gario link: remixer name: Inrudiment real name: Rustam Bakeev userid: 32551 name of game: Mega Lo Mania name of arrangement: Mega Lo Mania name of individual song arranged: Title Theme composer: Richard Joseph platform: SMD/Genesis original: https://www.youtube.com/watch?v=MVDzsD_lrUs

Ooh, you want to analyze some remixes for your paper? I can help a bit there when you pick any tracks; I've got quite a bit of experience on the analysis side of things. As far as the history of VG remixes, I'm not sure when the concept began, but if you want a good starting point of when they really started taking off look no further than file sharing programs like Napster and MIDI sites like VGmusic.com for the American boom. I'm not sure when it started in other countries (like Japan), though, so you might need to do more homework for remix's even earlier roots. OCReMix is at least one of the oldest sites of it's kind, as well (pushing more for high quality Mp3 arrangements over MIDIs to contrast it from other sites of it's time) and gathering them in one place (in contrast to tools like Napster sharing all sorts of music), so looking into OCR's history and influence will be helpful for your paper, as well. I'm less a musicologist and more a music theorist on these things, so I probably can't help on this topic further than that, but I do hope it's a start. Good luck!

ReMixer & real name: Eino Keskitalo e-mail: ReMixer: Jorito e-mail: Name of game arranged:Secret of Mana Name of Arrangement: Together We Will Stand Name of original track: Together Always Source: https://www.youtube.com/watch?v=uA-D1Tf6H6Q MP3 link: FLAC link: Jorito's notes: Eino was one of the very last people to claim a track and to check in. Since we've done quite a few collaborations already, I liked what I was hearing and Eino was quite strapped for time, I offered to help out. The whole process reminded me of the compo tracks we did, it's a very organic workflow and cranking out an enjoyable track in just a few days with a crazy deadline breathing down your neck is pretty much what we're used to. This time around, my contributions were mostly in production and making some arrangement changes, but I also was able to sneak in some extra parts to spice things up. The foundation that Eino laid was also a great bed to do some creative experiments. I mean, how often do you get the chance to act as Sage Joch and steal his lines from the game script AND get to work on that one single track where using bagpipes actually makes sense? Turned out rather fun and interesting and maybe a bit eccentric in a good way. Eino's notes: I have a funny experience with Secret of Mana. My SNES-owning friends acquired the US release as an import, and sure, it's was a gorgeous action-RPG, it had multiplayer, and the ring inventory UI was very neat. I got to borrow the SNES later and played the game with another friend up until a point, where the dragon swoops in to rescue the party and at that point (perhaps due to exhaustion of playing it so much), we somehow decided this turn of events was super lame and quit. I played the game through later on my own, but it still did not have the impact for me that its reputation would warrant. I guess I never really "got" the game! I’d be happy to give it another go with a friend or two at some point though, perhaps the penny would drop this time. What is unquestionably great about the game is of course the music. The compositions are excellent and unique, greatly adding to the game’s identity. The tracks are also very craftily tailored to the SNES’s sound capabilities. This music is good. Even if the game is not necessarily an all-time favourite for me, I still sing a lullaby based on the music (and plot!) to my kids in the evening. It’s also so good I claimed (in various collab formations) four tracks in total during the project’s long lifespan. It’s also so good I was only able to finish this one (the bar is high), and when I say “I finished it”, I mean Jorito did. It definitely wouldn’t have been without his generous offer for help! The fun thing when I was claiming this track (thanks to nudging from Jorito), even at the end, there were still 3-4 fantastic tracks left for claiming. I kept listening for them, getting various ideas for each, and finally settled on Together Always, not necessarily because it was my favourite of the originals left, but I just got a couple of fun arrangement ideas for it. One was to play the thing on the guitar. There was an alteration to the rhythm to the first lead riff that formed in my head quite naturally with the guitar in mind. The other was to mess with the time signature (like I often do), and in the chorus there’s a small gap at the end of the rhythm I would cut shorter while keeping the flow of the rhythm still pretty natural (to me at least). After the idea stage, the execution progressed as follows: - figure out the parts on the guitar and bass - realise its way too fast for my skill level and will require recording in tiny tiny bits (f.e. four notes of an arp at the time) - let this affect the arrangement, f.e. split the arp between two guitars - make a mock-up of the arrangement structure with drums + chip sounds - record guitar and bass in the tiny tiny bits - improvise some stuff - forget to record some parts - record some parts incorrectly despite first transcribing them correctly - spend 3x more time for timing and pitch fixes than recording - instead of re-recording (which I didn’t have the opportunity for anyway), use the chip-style sounds to fill in for missing bits - stretch out the arrangement via good ol’ copy & paste, add a chip solo to vary things up, don’t quite finish the ending - send stuff to Jorito - magic happens - track is ready! The particularly fun aspect of the process was that I sent a fairly dry and minimalistic track with drums, bass, guitars and a couple of simple synth tracks to Jorito, and he gives it a total maximisation make-over, including vocoded vocals and a bagpipe. Once everything was in place, the final round of mixing (which he executed, I just opined) to chisel out the excess and decide what should be the main feature of each part was quite fun and exciting. I think what emerged is a particularly fun, even joyous track, that fits the original but puts it in a crazy overdrive mode. that's all, cheers

Goedenavond, Remixer name: Jorito Real name: Jorrith Schaap Email: Userid: 3899 Submission information: Name of Game(s) Remixed: Quarth (https://en.wikipedia.org/wiki/Quarth) Name of Arrangement: Block Invaders Names of songs arranged: BGM 1-1 (https://www.youtube.com/watch?v=BdnGEGPWzw4#t=4m31s), BGM 3-1 (https://www.youtube.com/watch?v=BdnGEGPWzw4#t=11m24s) Link to the remix: Comments about the mix: This is a remix of Quarth, a fun Konami Tetris/Space Invaders puzzler hybrid that I grew up with and have very fun memories of (it’s also incredible fun in 2p mode!). I started this remix somewhere in 2014 with real instruments, but somehow I never finished it. Fast forward, and Super Audio Cart PC became a thing. I offered to sample the MSX computer sound chips for it, because at heart I am still an MSX fanboy and user. I always wanted to create a chiptune style remix with the famous Konami SCC sound that most people probably only know from (SD) Snatcher and MG2: Solid Snake. This was too good an opportunity to pass up to showcase both the SCC, the soundtrack from Quarth and the authenticity of SACPC. And besides, how often do you get to remix one of your favorite games with your favorite soundchip from your childhood computer? It’s my first time working with SAC (and SACPC), and it was a joy to work with and totally awesome to get these sounds in a very accessible way. 100% SACPC (SCC + PSG drums), baby. If I close my eyes and forget that I used too way many channels for it to be played on real hardware, it takes me back on a fond nostalgic trip down memory lane... Retro Mission accomplished! Cheers, Jorrith

Oh, a newcomer! Welcome to OCR! Bringing over an Asgore arrangement for your first outing? Good choice - that was a great soundtrack, with this being a solid penultimate boss music track. You nail the notes, as far as I can tell, and I can hear some interesting things done with some of the textures in the background (like the guitar part). Sounds like you had some real fun with this one. The samples used, are they out of the box from FL studios? You probably know they sound stiff and unconvincing, but I'll mention it really quick once again. I'm personally terrible at handing out advice on this topic (being an oldschool Reason user, I never had to deal with VSTi's), but Zircon made a guide a while back that has some good advice on how to expand your music library on a budget (or free, even). You seem to know how to handle your instruments well enough to where expanding your library will be greatly beneficial (even with freely available tools). Thanks for sharing!

As much as I hate to admit it, if people are percieving that it's slowed down then there's something that we need to fix or address. I can personally say it's considerably faster nowadays than it was a year ago (save for last month since as mentioned earlier an influx of projects slowed us down a bit - you can personally verify this, Rozovian :P), but if people can't tell this is the case then we need to do something about that. Updating the judging process thread is definitely one step toward that, which we've talked about here and will fix soon (if not someone else, I'll update it within the week). Of course, the problem with that is it's a manual process prone to staff just... not updating the thread. It's a lower priority item on the list of things to do, so it happens. Anyone have any ideas of how to make people more aware of the pace of the judge's panel? I might share a few ideas behind the scenes on how to address this (that starts getting into the mechanics of the site, though, which I don't think I should share on here atm), but if people want to share some ideas I would be very much appreciative. Interesting question, and while it's not the EXACT topic of the thread it's related. There's no official number on the rates of passes and rejections as of late (the numbers shown on the FAQ section of the site is not up-to-date), but I can give a pretty solid estimation based on what I've inboxed over the last year since I archive the tracks on my own hard drive. There will be some direct rejections that I didn't archive since those tracks were either soundcloud tracks without a D/L link, or the tracks were 404'd, so there's probably 20% more direct rejections than I'm giving credit for on here. Be aware. Out of ~370 tracks I've inboxed over the last eleven months that I have on record: 22% are direct rejections (rejected via e-mail, the track doesn't make it to the panel). 8% are direct posts (passes on the spot, the track doesn't make it to the panel unless the judges object). The rest (70%) are sent to the panel. Of those panel'd, I can use my basic memory of what passed and what didn't pass and give a solid estimate of the panel's current pass rate. I could check everything on the site and get a 100% accurate number, but that would be incredibly time consuming - I hope y'all understand. Crunching the numbers, about 50% of what gets to the panel gets rejected. ... Yeah, that number sounds unbelievable to me too, but that's what number crunching every track that I've panel'd comes up to. Since it's based on my memory of the tracks passing or being rejected it's a good idea to say that this is +/- 10%, so the worst case I can conceive of is that the panel's pass/rejection rate is 60/40 in one direction or another (probably 40% YES, 60% NO, which makes sense when you look in the Judges Decisions forum). That's surprisingly uplifting - I didn't expect that when I started crunching numbers. Based on that, of all the tracks submit in the inbox that I've handled over the last year about 40% ultimately passed on to the front page, with the most conservative estimates being closer to 30% (a far cry from the 10-15% mentioned in the FAQ). Damn, we're a bunch of softies on the panel, what the hell. Do take these numbers with more than a grain of salt, though: this was a quick numbers-crunch from what I have access to, just to give the public an idea of how things are in the panel nowadays.

Ah, I remember this from the first time around; I wasn't sure if I would give it a pass or not since it was amazing yet static (as the other judges said prior). I must commend the amazing brass work that went into this - John's got some insane skills to put something like this together. The lead horn work in the lead is really, really good, I've gotta say. I really do like the arrangement of this. The balance of the instruments seems noticeably improved, with the bass and piano being easier to hear in this. The drums are more subdue'd (perhaps a little too much so), but I can see the work that went into giving them more life with those fills and different patterns. Gotta give some real props to Sixto for that. The track is about a minute and a half shorter, but I virtually didn't notice the difference. I think trimming this down was a smart move - the drags on for far less than the previous version. The last thirty seconds of this track is silence; we should cut that out prior to posting this, if it passes. I was a close call prior to this version, and this one brings along a whole lot of improvement. I think it's an easy pass for me now; awesome work on this! YES

Previous Decision Your ReMixer name: JohnStacy, Juan Medrano Your real name: John Stacy, Juan Medrano Your email address: Your userid: 33075, 4685 Name of game(s) arranged: Super Mario Bros. 3 Name of arrangement: The Journey Never Ends Name of individual song(s) arranged: Ending Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I submitted this track in the middle of August. After getting rejected by the panel, I let the track sit for a while. After reading over the criticisms I opened the track again. When reworking the track I wanted to see what I could reuse from the same file to minimize having to rerecord the brass instruments. The criticism really revolved around two basic things that fed off each other, the drums and the arrangement. I cut out something like a minute from the arrangement by cutting the first "verse" with only rhythm section and solo horn. By starting in what was the 2nd "verse" it seemed to flow a lot better. Most of the original recordings I recorded were used, keeping the ensemble as 2 trumpets, 1 solo french horn, 2 section french horns, a trombone, and a bass trombone. The rhythm section was changed a lot, however. Enter Juan Medrano. We were talking in discord and he offered to do drums for me, and later bass. The bass help was not more than running the existing midi data through a much higher quality bass vst, and also a little bit of optimizing for that vst. The drums were a complete rewrite. He did those himself and used his soundsets for that, making a much more solid drum track. After adding in the new drum and bass tracks, the mix tightened up significantly. While working on the mix this time around, I also noticed a track that was essentially muted minus being fed into the reverb bus. It was a warm pad and sine wave track just sustaining chords. I can't remember what the purpose of this track was, but after removing it completely, quite a lot of space in the track opened up. His contributions in writing for rhythm section and mixing were extensive in enhancing the track.

When S4L focuses on his silky smooth vocals he produces VG remix gold - I've got to say, this is an awesome remix. The lyrics are great, the hip-hop beat, the singing - it's all great stuff. Love it, hope to hear more coming from him like this. YES

If accepted, we should request lyrics for this. - Gario Contact Information Your ReMixer name: Smooth4Lyfe Your real name: Joey Ofori Your email address: Your website: http://www.youtube.com/smooth4lyfe Your userid (number, not name): 33213 Submission Information Name of game(s) arranged: Legend of Zelda Name of arrangement: Give Me Your Heart Piece Name of individual song(s) arranged: Great Fairy Fountain Link to the original soundtrack: https://drive.google.com/open?id=0BwSM9LzCGW0BeGJyNFRVbHd1azQ If Link from Legend of Zelda wrote a love track about Princess Zelda, this would be it! This track is about the beauty of Princess Zelda from Link’s perspective. The song is rapped/sung on a hip hop version of the “Great Fairy Fountain” beat. Give me your heart piece!

Is this my favorite 'Weapons get' themes from Megaman? I think it is! Gotta love the fast pace against the slow build you've got going, here. It takes until about 1:42 to really have everything come together, but with that pacing this does a great job keeping us interested in the track to this point. The drop in most of the instruments at 2:08 helps section this track nicely, preventing it from being too static (which is tough to do with this source, being it's so darn short). The textures are pretty thin before that square comes in, which makes a lot of the track sound thin and nasally. The track could've used something else in the texture to give it more midrange EQ balance to offset this. Not a big deal, but something to think about in the future. Loved it, hope to see this on the front page! YES

Hello, Here is a new submission from me once again! (PsyNES). Contact Information Your ReMixer name - PsyNES Your real name - Jari Your email address - Your website - https://soundcloud.com/psynes Your userid - 20309 Submission Information Name of game(s) arranged - Mega Man 3 NES Name of arrangement - You Got the Power Name of individual song(s) arranged - Weapon Acquired screen Additional information about game including composer, system, etc. (if it has not yet been added to the site) - none Link to the original soundtrack (if it is not one of the sound archives already available on the site) - I think this is on your site already Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Psytrance / Hard NRG ReMix from my favorite Mega Man game! This is actually from 2013, but I updated this a little bit before sending to you, hopefully it'll pass!

Oh, PsyNES is back! Man, that makes me a happy camper - I always loved his stuff. This offering is no exception to that - the beat is bouncy and happy, pushing the relatively limited source hard. The overall textures are pretty busy, but I like busy textures so whatevs. The arrangement does a lot with what it has, but after some time the overall arrangement starts to get stale. I can hear that things have been changed throughout to keep it somewhat interesting, but that bass line remains constant almost throughout, and the textures have small variations to them which doesn't quite alleviate the static nature of the arrangement. It's not deal-breaking for me, but I could see some on here feeling like the track gets tiring over nearly five minutes. I still think this has a lot to offer, so I'd rather see it posted than not. Nice to see you back once again! YES

Hello, Here is new submission from me (PsyNES). Contact Information Your ReMixer name - PsyNES Your real name - Jari Your email address - Your website - https://soundcloud.com/psynes Your userid - 20309 Submission Information Name of game(s) arranged - Darkwing Duck NES Name of arrangement - Playtime's Over Name of individual song(s) arranged - Steel beak Stage Additional information about game including composer, system, etc. (if it has not yet been added to the site) - none Link to the original soundtrack (if it is not one of the sound archives already available on the site) - I think this is on your site already Your own comments about the mix, for example the inspiration behind it, how it was made, etc. Finally got some time/inspiration to do these submission emails again. This is already 3 years old ReMix, but I decided to try update it a little bit and submit. I started remixing this track because I liked the funkiness of the original, I thought I would try how it would sound as Psytrance'ish/Suomisaundi style ReMix. I think it turned really nice, funky suomisaundi stuff, I personally like it. This is made with Renoise as well as my all remixes and my own tracks, Renoise 4ever!

Funny enough, I think this actually isn't too conservative for OCR. It IS conservative, but it does take the source in a different direction in style and presentation. Those things count for something, which I think makes it just distinct enough. The issues that hold this back are EQ related, as well as the static presentation of the arrangement. This whole track is heavy in the highs and almost completely lacking in the bass end, which makes the whole track sound empty and top-heavy. The instruments utilized don't fill the right EQ spaces, which makes this sound incomplete. Not the worst thing in the world, since the drums could easily fill that space if they were EQ'd with the proper amount of bass, but it's an issue nonetheless. While I said the arrangement wasn't conservative, it does still have the issue of being static and relatively unchanging. The same textures play throughout the track, which get old after three minutes. The fact that the instrument carrying the theme rarely changes only compounds the issue; changing up the arrangement so that it doesn't have the same textures and instruments going all of the time would help make these textures sound more interesting and engaging when they ARE present. While it's firmly a NO, I think the idea of making a hip-hop version of this track is a good one, and this is a decent base to work from. I do hope he works on this some more and produces something even more interesting and cool from it. NO