Gario

You mean from this thread? Hey, you'll be a hero if you just start pushing good covers and arrangements from the ReMix Request area.

If you're not planning on submitting the track, then please don't mark it for Mod Review. That's a tool to help people get an idea of how it'll fare on he panel without needing to wait however long it may take, but if too many people mark their tracks just to get a review it exhausts the mods on here, leaving people who actually need it for its intended purpose without the tools to do so. Mark it as a WIP to get the attention of other users on here, or mark it as finished if you're simply sharing your music. Thanks.

Okay, this is actually really, really cool. Loving the use of the guitar bodies for percussion, and the overall soundscape is rich as all hell. You're in the right place for instrumental covers - we take em' all in here. Do keep posting your stuff in here, because this is awesome.

EVAL The arrangement goes in some neat directions - it sounds like it merges a bit of MMX2's intro stage toward the end, which works pretty well. It really sounds like you're trying to fit a great deal of ideas in this, which unfortunately the track can't fit. The mix is pretty muddy, especially when you start adding new instruments at 1:34. There's only so much space you have to work in; if you add too much, either you'll have clipping, your limiter will cut out or you'll experience overcompression (which is the case, here). The soundscape is pretty static, too. You utilize the same instruments through most of the track (save for the addition of a new synth at 1:34), so the listener gets tired of that soundscape before long. Don't use all of your tools at once for the entire track; cut a few instruments out from time to time, play with different combinations, etc., and only really have everything going when you must. This will also have the added bonus of helping clean up the mixing, too. If you were to submit it, it's likely be stopped at the inbox due to production issues (the mixing & overcompression issues mentioned above). Bypass whatever limiters and compressors you have over your master, turn things down until you don't have clipping and work your mix up from there. Also, pay attention to make sure you don't use all of your instruments for the same purposes throughout the entire song, as that makes the arrangement tiring to listen to. The human ear craves variety, after all! Hope that helps!

Ditto to the props, and ditto to the exposed hard panned right channel in the beginning being annoying. The production values seem to be on point, and the various guitar licks put throughout to keep it interesting works on every level. I think it's great, to be honest - not much to critique. YES

ReMixer Name: Tyler Gill Email: Userid: 19188 Submission: Title: The Last Laugh Game: Banjo-Kazooie and Mario & Luigi: Superstar Saga (with cameos from Super Mario Bros.) (Banjo-Kazooie is still the primary game though) Comments: Banjo-Kazooie and Mario & Luigi were both some of my favorite games growing up, and the music was a large part of that. I remember getting a headphone adapter for my GBA SP just so I could close the lid and listen to Cackletta's theme, and Gruntilda's theme was one of the first video game songs I figured out how to play on the piano. As the two characters are both witches, and both have quite distinctive laughs, I had the brilliant idea of a title for a song that could combine the two together - The Last Laugh. The name just fit so well, I had to write the song to go along with it. (It wasn't until this point that I realized the two songs are in different time signatures...but that just made it more of a fun challenge.) This song tells the story of the final battle between the hero and the villain: 0:00-0:05 - The hero enters the chamber with the final boss. 0:05-0:23 - The hero looks around the room, searching for the villain. 0:23-1:09 - The villain steps from the shadows - cue monologue... 1:09-1:22 - The villain knows something the hero doesn't - suspense builds... 1:22-1:34 - The villain springs their trap! A new baddie appears! 1:34-1:46 - The hero springs into action. 1:46-2:21 - The battle rages! 2:21-2:27 - The villain is getting weak... 2:27-2:34 - The villain gets their second wind! 2:34-2:40 - The hero strikes back! 2:40-3:18 - The villain falls... 3:18-3:24 - ...but will be back! The breakdown is similar to the story: 0:00-0:05 Intro (original) 0:05-1:09 Gruntilda's Lair 1:09-1:22 Bridge (original) 1:22-1:34 Cackletta's Theme 1:34-2:21 Super Mario Overworld 2:21-2:27 Gruntilda's Lair (4/4 time) 2:27-2:34 Cackletta's Theme 2:34-2:40 Banjo's Theme 2:40-2:50 Bridge (original) 2:50-3:18 Cackletta's Theme (12/8 time) 3:18-3:24 Gruntilda's Lair Source songs: Banjo-Kazooie Mario & Luigi: Superstar Saga Super Mario Bros.

Contact InformationReMixer Name - DarkEcoEmail Address - YouTube Channel - https://www.youtube.com/channel/UCGbDe6JrqPLoUIS9A7UbcMg Submission Information Name of game(s) arranged - Lemmings Name of arrangement - 'Extinction Party' Name of individual song(s) arranged - 'Miners and Climbers Disco' System - Megadrive/Genesis Source material - https://www.youtube.com/watch?v=13dpyKI3dHg Comments This is my first ever submission to OCR that i actually made almost a year ago but didn't feel confident enough to submit. After eventually posting it publicly it was receiving generally positive feedback from the kind folks on the OCR facebook group, which made me consider that i was being too hard on myself. The track itself was what i'd call a "crisis of genre". On one end i'm heavily inspired by rock music like Joe Satriani, Pink Floyd, early DreamTheater and Porcupine Tree. On the other end i'm a lover of electronic music like Infected Mushroom, Zircon and Oribital. On top of all that i love VGM and get comments from friends that everything i write (which isn't that much) sounds like it should be in a game. So i'm stuck loving genres that are at opposite ends of the music spectrum and fusing these into a sound that i want to be my own involved a lot of tricky decisions that i'm still plagued by, mainly being the drum sound above everything else. Should it be electronic or acoustic drums? Will it sound too inconsistent to my overall genre if i switch between the two? I'm sure i'm not the only one who's been in this situation. I settled on having a punchy electronic kick with acoustic snare and overheads, but i still don't feel happy with it overall. The main thing i decided before i started writing any game remixes was that i wanted my remixes to keep the spirit of the track but enhance it in ways that weren't possible when it was made. I'm sure somebody could make a killer smooth jazz rearrangement of this track, but to me that would sound too far from home. It needed to sound fun and upbeat, and fun was really my main goal. I made heavy use of Image-Lines 'Gross Beat' to spice things up. All the gating and tape stop effects on the guitar are coming from that. The entire solo near the end has been put through Gross Beat to make it more snappy and to the beat. I'm not the tightest of players so it helped fix my timing too. As a guitarist i felt like i wanted to try new things that i never hear on a guitar. The standard rock sound bores me more then ever these days, so what if i pretended the guitar was any other electronic sound? It's something i am exploring even more now after writing this track. This was very Infected Mushroom inspired. If you listen to their album 'The Legend of the Black Shawarma' it makes frequent use of gated, stuttering guitars. The breakdown at 2:03 was quite Pink Floyd and Sonic CD (US) inspired. You can probably hear the obvious Zircon inspiration during the section that starts at 1:19. I'm a huge fan of his delayed sine sounds and really wanted to give it a try myself. His music is actually the reason i persued any kind of music production myself, so i'd like to thank him for that as it was a potentially life changing choice for me. After grabbing my own copy of FL Studio it started snowballing. This mix was created using FL Studio but i've now moved on to using Presonus Studio One and i'm very happy with the switch. Truth is i'm a lazy writer if given the chance and the pattern system of FL encouraged too much copy/pasting. The workflow for audio recording didn't vibe with me either. From here i'm hoping to continue contributing to OCR and already have a couple more mixes that are about 50% finished. 'Extinction Party' will probably be quite different to anything i produce in the future as i'm heading down a more electronic rock route than a dance oriented one. As for how long it will take to finish these i can't say as i'm currently working on a degree in Sound Design at University, but i'm very excited with the progress on them so far! Peace & Love, DarkEco x

Hello,See attached file.Mirror link to 192kbps mp3:Remixer name: Mordi User ID: 18292 Name of game: Donkey Kong Country 2: Diddy's Kong QuestName of arrangement: Seagull SonataName of individual song arranged: Stickerbush Symphony Hope people will enjoy this one, even though it's yet another Stickerbush Symphony remix. I kept it mostly laid back, but listening to a lot of late 70's funk/disco lately compelled me to throw some more upbeat stuff in there at the end. I tried to channel my inner Nile Rodgers, but I doubt I'll be producing the next Chic album.- Mordi / MoNPS: I'm aware that it's not a sonata, but I had no idea what else to name it.

Remixer: ibeginwiththeendinmind Name: Chris Ross Email: User ID: 54548 Link to remix: Game: Metroid Prime Arrangement Title: Thardus Lives! Original Tracks: “VS. Thardus”, “Title”, “Samus Appearance Jingle” The original soundtrack for the game can be heard here: https://youtu.be/tBq_SueS8oo?t=1h43m59s One of the biggest problems I have with remixing is that I have a hard time finding tracks to remix. The thing is, with the soundtracks I really love, I find that I can’t contribute to them in a way that I feel doesn’t take away from the arrangement instead of adding to it. So I tried something different: find a tune that I liked, but didn’t necessarily love, and play around with it to see what I come up with. And here we are, with one of my most favorite game OSTs ever composed. I found the tune begged for a harder edge and some bite, so I went in the metal direction with it. However, keeping the guitars only playing the melodies was paramount to not having the track so in-your-face as to be overwhelming, I found; but to fill out the track and keep the density of the original (which I found to be key to its impact) I found myself employing layer after layer of sound texturing via synths, giving it the quasi-industrial feel. The middle section came about because I couldn’t figure out what to do after the reverse cymbal effect where the original track loops back on itself. It needed to be turned up a notch there. So after some experimentation, I gave in and went full guitar—which I couldn’t help putting the title melody over.

Remixer Name: Faseeh, Tiago Rodrigues Real Name: Faseehudeen, Tiago Rodrigues Email address: Website: https://soundcloud.com/gottagofas, http://www.tiagomcrodrigues.com/ User ID: 30380 Game arranged: Undertale Name of arrangement: Chaos, Cookies and Cider Name of individual song: Spider Dance Sorry for the double email, disregard the last one, I actually forgot to attach the MP3 file, haha. My bad! Undertale, a game I dearly love and has made me cry and laugh at the same time. Beautiful masterpiece. The music especially blew my mind. Couldn't help but arrange this track. When I played the game, I probably died at least 9 times on this boss. Toby agrees it's one of the hardest, and I guess that inspired me to go for this chaotic rendition. The energy in Drum and Bass is great, but Rock N Bass is even better. Tiago is an amazing guitarist, and he totally delivered on this track, through his guitar solos. Glad to have collaborated with him! Imagine this whole track as an interactive video game music track. The introduction represents the encounter, the attacks switch every time the track changes section, Muffet's pet comes out for the guitar solo, and the breakdown is the part where you're genuinely sweating and are scared to death. Genuinely hope you enjoy this track! Thank you. (also genuinely hope the judges accepting this on my first time submitting please hahaha)

Hi! This is my first submission to OCR so I hope everything is ok Contact info: Remixer name: Sinfinian Real name: Mikki Rousi Email: website: www.sinfinian.com User ID: 34122 Submission info: Game: Castlevania II: Simon's Quest Name of the arrangement: The Trail Of Tears (Bloody Tears) Name of the song: Bloody Tears Comments: First song of the album "The March Of The Machines" by Sinfinian. Cheers, Mikki Rousi

Note: I'm not 100% sure, but this COULD be the original Japanese title for the battle theme. If that turns out to be the case we may need a different title. Just a heads up on that if this passes. - Gario Addendum: "Let the Battles Begin!" is the Japanese title of the source. "Those Who Battle and Achieve Victory" is the name of the arrangement. - MW Hello, my name is Mad Patissier 001 and I'd like to submit an arrangement I created. I have arranged a piece from Final Fantasy VII. The title of this arrangement is "Those Who Battle and Achieve Victory". It is a rock piece. This is an arrangement of the battle theme of Final Fantasy VII, "Let the Battles Begin!", more commonly known as "Those Who Fight" or "Fighting". I'm a fan of the music of the Final Fantasy series, but a good friend of mine is an even bigger fan, especially of Final Fantasy VII, so I created this arrangement as a present. It was very difficult, both arrangement and performance-wise. I used a Sterling JP70 7-string guitar, Focusrite Scarlett 2i4 interface, and the music software Logic Pro 9. I used electric guitar, electric bass, drums, rock organ, piano, strings, trombone, and synth. Every instrument in this arrangement besides the electric guitar is programmed. This is a link to the arrangement that I uploaded onto SoundCloud. Thanks, Mad Patissier 001

Pretty straight-forward arrangement, but it definitely has its own flair to its presentation. Those decorative leads certainly add a lot to the track, and though I found it harmonically strange from time to time, that's how the source was too, so I suppose I can't give the arranger grief for it this time around. The mix in this is pretty oppressive. Honestly, it feels like that bass instrument is quite loud in comparison to the rest of the instruments, which doesn't give the synths much sound space to work with. Thus, from time to time the track sounds a little overcompressed due to that. I think this is more a balance issue than an EQ one - that bass synth is just loud compared to the other instruments. To the mix's credit, the instruments are not difficult to distinguish, so while I have my issues with it I can't say that's dealbreaking, either. The soundscape (especially the backing instruments) gets a bit static after a while. The section at 1:52 is a great way to break the overall sound - it feels like a breath of fresh air where it's needed most. The lead switches from synth to guitar from time to time, as well, which helps. There are a few smaller things that irk me the wrong way (the mixing of the bass, the static soundscape), but it's not quite enough to turn my vote. It's still a pretty fun romp where it counts, so I'm all for it. Nice work! YES

Very tasty soundscape to this one - those classic synths with the theme and bassline that this source provides is a perfect match. The production is impressive on this, and while I'm not feeling the guitar on this one otherwise the sound design is top notch. I don't agree that the significantly different section MindWanderer points out violates our standards at all; while the mood changes and new instruments are introduced (which to be honest I wasn't feeling that much, either), it works on its own as a break from the plodding arrangement, and it does transition fairly well. Nothing in the rules saying we can't do that. There still is one point that is a bit iffy - the track is pretty liberal. There's not too much material to work with (really, that one hook represents the entirety of the source), and while it's used well in this arrangement there are a lot of moments that simply let the atmosphere take hold. That's cool and all for an independent track, and it does wonders here, but it also could hurt as far as being able to recognize the source is concerned. Fortunately, the rhythmic bass motif is prevalent in many of those portions, which is certainly a part of the source. If one were to count that, then this is how the breakdown would go: 0:10 - 0:50 (Bass) 0:50 - 1:03 (Bass + Harmonies) 1:03 - 1:56 1:56 - 2:10 (Bass) 3:51 - 4:45 4:45 - 4:59 (Bass) 188s / 312s 60% source usage If the bassline isn't counted as source then the track hits something like 40% source usage instead, so I could see judges swinging both ways, as far as this being liberal. I'm going to give the benefit of the doubt on it, though, since the open, spacious portions really do evoke the source's less melodic, more open and spacious portions in my humble opinion. Overall, I could see how someone could look at the middle section (2:10 - 3:51) and believe it's too liberal, but I'm willing to give it some credit for that bassline, which means I see no other reason to hold this back. Nice work! YES

Dear all, This is my first submission. I apologise if I mess something up. Link to submission: Contact Information: Remixer name: Zak Rahman Real Name: Zak Rahman Email Address: Website: http://zakrahman.com/ UserID: 34233 Submission Information: Name of Game arranged: One Must Fall 2097 Name of Arrangement: Preparation Name of individual piece arranged: Main Menu Additional Information: Original Composer: Kenny Chow Link to original piece: https://www.youtube.com/watch?v=pdVnKYcYi3g Remixer's Comments: Although I have stuck fairly faithfully to the original piece in terms of melody and progression, I feel like I have embellished enough and added enough elements to warrant this being a remix worth considering on it's own value. The drums are the element that has been altered the most - although not to the point that it is a different genre or unrecognisable. They were changed mainly to respect the groove and feel set by the bassline and indeed the original genre. Instrumentation is once again fairly faithful, the largest change comes in the change of the lead synth to an electric guitar.

Hello Judges, I've been lurking on the site for a few years now. Since I'm about to ride up to MAGFest with an OCR vet, I thought I might try my hand at this. Attached is my arrangement for your consideration. Thank you for your time! Contact Information ReMixer name: MrHassanSan Real Name: Hassan DuRant Email: Website: www.hadurant.com User ID: 30467 Submission Information Game: The Legend of Zelda: Ocarina of Time, as well as The Legend of Zelda: Skyward Sword Name of Arrangement: The Sword of Storms Songs used: "Ocarina: Song of Storms" and "Ballad of the Goddess" Comments: I was running in silence one day, having forgot my running earbuds at a friend's place, when two weird things happened: First, my mind began counting my footsteps in 5/4 time. Second, Ocarina of Time's "Song of Storms" got stuck in my head, despite the fact that I've never actually played that game at all. The piece references and heavily expands on motifs from Song of Storms (particularly the note-fifth-octave motif) and Ballad of the Goddess. Possible format concern: I'm not sure how huge of a problem this is, but I recorded the remix entirely at 48k instead of 44.1k (I hadn't planned on submitting this until I was pretty much done with the whole project). Trying to downsample is creating a ton of distortion that I cannot resolve. The bit rate is 192 kbps as instructed, though!

Garpocalypse Ryan Davis ryandavismusic.net Game:Final Fantasy Tactics Remix Title: Lets Go To The Tavern And Get Plastered Ramza's Theme https://www.youtube.com/watch?v=4p_V804lz2w Tavern https://www.youtube.com/watch?v=v1XF8NZudjI Hey folks at OCR. Throughout my time here in the VGM remixing community, Final Fantasy Tactics seems to have been one of those games that many want remixes of yet very few have ever been made. So, in my never ending journey to do styles not often seen in the vgm remix community, I did this Western European influenced Folk Metal ReMix of Ramza's Theme and the Tavern Theme from Final Fantasy Tactics. I absolutely adore the hell out of the game and i wanted to something interesting yet still fit with what was appropriate with the setting of Final Fantasy Tactics.

Contact Information Rus Gordon rusgordon.tumblr.com 34236 Submission Information Mega Man Battle Network 3 Alpha, the Defect Vs. Alpha (Final Battle) Original: https://www.youtube.com/watch?v=h-APlyE-HbQ I was surprised how funky, fast-paced, and weird (for a final boss theme) this song was when I first heard it. As a challenge, I wanted to pick a song that I wouldn't be able to turn into a typical "metal cover" verbatim, so to speak, so I had to stretch out what was there, since the original theme is just under 1 minute long.

NoTuX Damon Campbell https://soundcloud.com/notux-1 Submission Information Sonic the Hedgehog 2 Sky Chase Zone. Original: https://youtu.be/0FCHk_gSwKo Composer: Masato Nakamura This is my short remix of the Sky Chase Zone. I started this a while back and kinda left it unfinished when my life got busy. I finally had a chance to get back to it and shape it up some more after I finally bit the bullet and purchased Komplete 11. At first, I was a bit too cheap/poor to go out and buy samples, but since I decided I want to take music a little more seriously this year, I figured I should get better samples and work on getting better in general. So, there will be many more old, abandoned projects that I will be revisiting and submitting. Back to the remix! This is another one of my "chill" remixes with just a bit of trap thrown in. I named it Sky High because I was kinda high off of a muscle relaxer I had to take after I pulled a muscle in my back. All I could do was lay in bed all day, so I whipped my laptop out and started working on this before I got drowsy. Definitely not the best method for making music, but whatever works... Direct Link to mix: I hope yall enjoy it. Peace out

Remixer name: Dino Kid Real name: Tom Harrington site: http://www.tom-harrington.space/ User-ID: 29930 Game name: Turtles in Time Arrangement name: Covert Chaos Name of song: Sewer Surfin Thank you for listening!

This track is going to be part of the Paths Less Traveled: Terranigma album. Hey there, Remixer name: Jorito Real name: Jorrith Schaap Email: Website(s): YouTube: https://www.youtube.com/user/Joeirot Soundcloud: https://soundcloud.com/jorito Userid: 3899 Remixer name: Manji Real Name: Chris Mole Email: Userid: 16076 ReMixer name: Tuberz McGee Real name: Callum Kennedy e-mail: forum id: 13677 ReMixer name: Lauren the Flute Real name: Lauren Liebowitz e-mail: Website(s): YouTube: https://www.youtube.com/user/selie22flute Facebook: https://www.facebook.com/LaurentheFlute Twitter: https://twitter.com/laurentheflute Website: http://the-returners.com Name of Game(s) Remixed: Terranigma Name of Arrangement: Skaði, fjallið veiði gyðja (Skadi, hunter-goddess of the mountains) Names of songs arranged: Mountains (https://www.youtube.com/watch?v=DAKGf_aIerM) Link to the remix: Comments about the mix: Full cast: Arrangement, production: Jorito Lead guitars: Manji, Tuberz McGee Rhythm guitars: Tuberz McGee Vocals: Lauren the Flute Mastering: Chimpazilla Jorito: I’m a big fan of JRPGs but sadly haven’t played Terranigma. As such, I was totally unfamiliar with this great soundtrack. When Odai started recruiting for the album, I went over a few of the tracks to see if anything struck my fancy. Mountains instantly resonated with me because I thought it’d do well with some chugga chugga guitars combined with orchestral, a style that I love. As usual I started the arrangement with midi and samples. The rhythm guitars already sounded good with samples, but with a bit of help from my pal Callum (Tuberz McGee) they really came to live and gave the track the energy it needed. Had lots of fun writing the guitar solo at the end, and I dig Callum’s performance there too. The other guitar leads were played by Manji, who gratefully replied to my request for real guitars after my initial midi WIP. Lastly I reached out to Lauren, who I worked with on another track. Turns out she’s not only a great vocalist, but also a die hard fan of Terranigma, so getting her on board to record the soaring operatic vocals to give the track that extra bit of epicness wasn’t all that hard. All in all I’m pretty proud of this track and happy how it turned out. Extra kudos to my collaborators for joining me on the ride, it’s always amazing to see how much of a difference great live performances make! And if you’re wondering about the title… "Skaði, fjallið veiði gyðja” is Icelandic (not Old Norse unfortunately) for Skadi, hunter-goddess of the mountains. Odai painted a vivid picture about Vikings, icy mountain peaks and firepits when he listened to my track and I thought it’d be nice if the title reflected that. Manji: When Jorito shared his idea for this track- Vikings, opera, heavy metal- I was (as a fan of all three of those things!) immediately on board. The lead parts were a lot of fun to record once I'd managed to work out the timing, with lots of room for flourish. I did a couple of takes to get the basic structure, then zeroed in on the trickier parts and did a few more passes to make sure they were as good as possible. Jorito then worked his magic to fit the parts seamlessly into the song and make the end result sound super epic! Tuberz McGee: Jorito is very quickly becoming my favourite collaborator because he hits me up with crazy arrangements that always sound stellar. This mix is no exception as I had to sit down and make sense of the arrangement before I could even fathom how to play the guitar part. This track was a lot of fun! Lauren the Flute: I was so glad to be asked to contribute to another one of Jorrith's tracks; it's always nice when you find an arranger whose style just clicks with you. Plus I'm a huge fan of Quintet, and Terranigma is, in my opinion, their crowning achievement in all ways, especially the soundtrack. I appreciate how every track Jorrith produces is different from the others and yet they're all fantastic. The moment the electric guitars kicked in with this one, I was in love. The recording took place during a really difficult time in my personal life, so it was a struggle sometimes, but it's nice to be able to look back and say I overcame that and created something to be proud of. Thanks for being patient with me, Jorrith, and I'm so honored you asked me to be part of this. Cheers, Jorrith

NoTuX Damon Campbell Submission Information: Super Mario World 2: Yoshi's Island Title Screen (Yoshi Island), original: https://youtu.be/grVbhes4ceY?list=PL5D8399FA91008F97 Yoshi Island - Yoshi's Island youtu.be Music: Yoshi Island Composer: Koji Kondo Playlist: http://www.youtube.com/playlist?p=PL5D8399FA91008F97 Platform: Super Nintendo Composer: Koji Kondo Direct link: This mix is the second song that I completed for my little solo project "My Happy Place." It was inspired by one of the kiddie shows my daughter watches (maybe Yo Gabba Gabba?) There's so many, I can't even remember which one it was. Anyway, it is meant to be a fun little mix with a funky flava to it, the complete opposite of my "Plastic Smile" mix. I threw in some sound effects and elements from the game for the sake of nostalgia and I think it all worked out pretty well for the mood I was trying to set with this one: Life's too short to be serious all the damn time. I hope you guys enjoy this one as much as I enjoyed making it. Peace, and thank you!

Contact: Name: aluminum Email: Forum User: 2776 (http://ocremix.org/community/profile/2776-aluminum/) Submission: Game: The Wolf Among Us Name of arrangement: Binding Name of songs arranged: Opening Credits/Prologue Game info: Released in 2013 on multiple platforms; composed by Jared Emerson-Johnson. Original soundtrack: https://www.youtube.com/watch?v=heRLuqwrBCA Comments: "Probably time to work on a new OCR submission... let's see, my last one was... *checks page*... 9 years ago?!" Hmm, that was a bit longer than intended. Anyway, here's a Wolf Among Us arrangement that I hope you like. The Stabbing Westward track "Why" was a big influence here; I wanted to make something that blended a bit of that style with the dark 80s-esque synths of the original, as well as some aggressive modern elements. I used an extended version of the main melody to bookend the song, with some original material in the middle. This track has probably the most production work I've ever put into anything (although, no, not actually 9 years worth--which would be particularly impressive since the game came out in 2013 ). Thanks, -- aluminum

Well, this is certainly interesting. We don't actually have very much ambient music on OCR simply due to how difficult it is to make an arrangement both ambient and recognizable. I think it's something that should be approached more often by artists, though, and you do a really good job presenting yourself here. Listening to the 'Music for Airports 1/1' really quick, I can tell where you got your inspiration. Using this particular theme was definitely a smart idea, too - it seems to lend itself to something soothing like this. The low end on this seems pretty dominant on this track, even compared to the 'Music for Airports' track that you were inspired by, and sometimes it does get overly crowded down there. I personally don't mind too much as it sets a very warm, ambient tone to the whole piece, but it's something to be aware of. Honestly, I think it's a very nice representation of the ambient genre - reminds me of Philip Glass, and the techniques you're emulating sound close to something Edgard Varese would do in his later electronic works. There's enough subtle variation throughout so it doesn't get boring, and it really is quite soothing. I'm down for posting this - great work! YES

Contact Information: ReMixer name: zachaction Real name: Zach Herrmann E-mail: Userid: 30456 (zachaction) Submission Information: Game: Super Mario World (SNES) Name of Arrangement: "Mario for Airports (1-1)" Song Arranged: Overworld Theme Comments: In the first track of Brian Eno's "Music for Airports," "a single piano melody is repeated and at different times other instruments will fade in and out to create a complex, evolving pattern." (Wikipedia) This is a fairly apt description of Super Mario World's music, where that single melody is used countless times to evoke a variety of moods and movement. I sat at the piano the other night and this slow, ambient version of the Overworld magically appeared, and I ran upstairs to get started. Eno used tape loops of varying lengths and speeds, and I'm sure much thought was put into every editing decision, with meticulous attention to detail and structure (or lack thereof). While this arrangement exists solely in the digital realm, I tried to make it as organic as possible: no copying and pasting, no automation, the shifting of samples to approximate slowed-down tape, and just the right amount of noise. It's not a metaphor, it's not a proufound artist statement. It's a beautiful melody, a melody that lends itself to evolution by design, and it's right at home as the foundation of an ambient work. Eno's titling of the album tracks (1-1, 2-1, 1-2, 2-2) are the corresponding track number and side of the vinyl release. Of course, a similar numbering system is prevalent in the Mario universe as world and level, so it's a funny little crossover in the title. I don't know if I've heard something quite as ambient as this on ocremix, and I pray that it doesn't come across as boring. Certainly it helps to be familiar with the Eno piece for context, but I don't think it's imperative; like the original music of the game, this submission is meant to evoke a certain mood and style. I believe it does that.