Gario

Archangel and a Lufia remix? Talk about low hanging fruit, for me. Anyway, I will say, even for an older work, it's a pretty fantastic orchestration. Full of life, and it certainly does evoke the ocean (in more of a 'Time to go on an adventure' sort of way than the source did). The production is pretty great, though I'd argue there's a lack of higher EQ in the track in general, which makes it sounds a little bit dull. It's not a deal breaker, but it's something that I do notice. One other thing here is that some of the articulations for your strings and woodwinds are not quite up to your normal humanization standards. They all have the same articulation throughout, from what I can gather, which does make it sound a bit mechanical. It's not too disruptive to the track, though - it just sounds like everything is sort of "detache" with a lack of phrasing slurs, which isn't a deal breaker for me, either. Otherwise, one of my favorite soundtracks being tackled by a really great veteran arranger on here, how could I not love this? YES

Sorry, I missed this! Unfortunately (or fortunately, pending on your point of view), the Sinistral's battle theme is Battle #3, which has an amazing finished arrangement from Prince uf Darkness and Snappleman. Do take a look at the links on the front page, though - perhaps one of the Sinistral themes when you encounter them is to your liking instead? Just a suggestion!

Contact Information: ZBad Zachary Badreddine Submission Information: Silver Surfer (NES) [1990] "Ride the Silver Line" Stage 1 Theme Original Composer: Tim Follin Link to Original Song It started with me listening to the original track over and over again. I was obsessed with the bass line, the song's high speed, the drum track, everything about it. I wanted to remix the song immediately, but I loved the original so much that I didn't want to deviate too drastically from the source material. So I did my best to simply take everything Tim Follin did and crank it up to 11. It's my hope that this track succeeds.

Contact Information Your ReMixer name: Archangel Your real name: Jaka Čibej (That's a Slovenian male name, short for Jakob - just to avoid any sex-change stuff, that happens kind of often. XD ) Your email address: Your website: http://www.reverbnation.com/jakacibejarchangel Your userid: 23355 (http://ocremix.org/forums/member.php?u=23355) Submission Information Name of game(s) arranged: Lufia 2: Rise of the Sinistrals Name of individual song(s) arranged: Blue Waters Additional information about game including composer, system, etc.: Yasunori Shiono; SNES; Link to the original soundtrack (if it is not one of the sound archives already available on the site): Blue Waters Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: Greetings, almighty primarchs! Here we go, submission no. 12! I made this arrangement quite a while ago, in the summer of 2013. I have to be honest: summer is not my favorite season. I'm not that fond of the heat, but I do love the sea. So one day when I was bored and felt like making some music, I browsed some VGM to find a nice ocean-related source. Here's where I hear you saying: Aquatic Ambience, duh! Don't get me wrong: I do love Aquatic Ambience as much as the next guy, but I prefer making arrangements of under-represented sources. I finished the track in a couple of days, but didn't release it for some reason. Now it's 2016 and I finally took the time to submit it. I usually have an elaborate backstory for my mixes, but this one was much more spontaneous, so I've only got 'ocean mood meets sailing adventure'. Sorry. I guess you could define this as a spiritual successor to my Dragon Wings arrangement. I used ocean wave sounds instead of cymbals and gongs and included some whale song in the breakdown section in the middle. Enjoy! Here's the link to the mp3: Regards, J.

Link to submission: Contact Information Your ReMixer name: Magnetic Ether Your real name: Karlyn Singh Your email address: your userid: 22769 Submission Information Name of game arranged: The Cat Lady Name of arrangement: Lady in Black Name of individual songs arranged: Don't Follow the Light Additional Information: Soundtrack composed by micAmic. Game released for PC by Harvester Games. Links to the original soundtrack: https://www.youtube.com/watch?v=msg_DMtuXVE, http://vgmdb.net/album/47168 Comments: This is a stoner/doom metal inspired arrangement. As is usual for many of my arrangements, the source has been taken apart piece by piece and then re-assembled in a very different way. The first minute and a half is based on the same repeating riff from the beginning of the source, but little changes are added as the track progresses in order to keep things interesting. The riffs at 1:44 and 2:22 are lifted from the string sections in the original, but are altered to create a more melodic guitar line. The section at 2:48 reflects 0:36 from the original track but extends it, pulling in material from other parts of the source (mainly the stuff played by piano/lead guitar that's dispersed sparsely throughout). The solo at 3:53 is largely original but features references to two other tracks from the OST between 4:13 – 4:32 (namely 0:00 and 1:00 from Two Stone Rings and 1:59 from Psycho). The ending of course goes back to the opening riff to bring it all together. Additionally, the organ parts at 1:04 and 4:45 are based on various piano chords from the source although I can't remember well enough where they came from to give time stamps. The lyrics are based on the “River” poem from chapter 3 of the game but are not a direct reading of it, rather a mixture of lines and words that have been re-arranged into something else. Thanks for giving this a listen

ReMixer Name: Ridiculously Garrett Real Name: Garrett Mandeville Email Address: Submission Information Game arranged from: The Legend of Zelda: Twilight Princess Name of arrangement: The Boss is Back in Town Name of song arranged: After the Battle

AJ DiSpirito (ReMixer and real name are the same) http://youtube.com/ajdispirito userid: 33841 Animal Crossing: New Leaf Morning Jazz Main Street #1 (Day) Composed by Kazumi Totaka Original Track

Contact Information Your ReMixer name: Sebastien Skaf Your real name: Sebastien Skaf Your email address: Your website: http://sebastienskaf.soundcloud.com/ Your userid: 23598 Submission Information Name of game(s) arranged: Castlevania 2: Simon's Quest Name of arrangement: Children of the Night Name of individual song(s) arranged: Bloody Tears Link to the original soundtrack: https://www.youtube.com/watch?v=EjazC45Qkww Source Usage The source usage here is pretty straightforward. Notes I made a drum and bass remix this time, which is rather different from what I've submitted in the past, but I think it turned out alright. I pumped the tempo up to 170 - a familiar symptom of drum and bass, so I had the choice of either raising tempo of the source to 170 or lowering it to half that, and I chose the latter. As a result it sounds slower than what we're used to from Bloody Tears, but I think it allowed more room for the drum & bass style to breathe. Originally I had incorporated samples of the famous "The children of the night, what music they make" line from the 1931 Dracula, but I removed it when I realized it was still under copyright. I stuck with the track name, though. Thanks

Remixer- That Andy GuyName- Andrew Massonhttp://soundcloud.com/that-andy-guyuser ID: 29681Game Remixed: Chip's Challenge (PC)Name of Arrangement: "Da Funk do you Know Bout Chip"Song Remixed: Chip 2 Link to original music: https://www.youtube.com/watch?v=OsOFHqPMDXonote: I couldn't find any concrete info on the original composer, but if you may know, then be sure to share that with meI played this game entirely too much when we got our first computer when I was around 6 years old. This music has stuck with me since then and I figured a funky spin on the tune would be a good fit. That and the title of the track kind of drives home the fact that not too many people I know have even played the game, but hopefully fans of the game come out of hiding to enjoy this mix!

ReMixer name: Arvangath Real Name: Andrés Márquez Email address: // Your website: https://soundcloud.com/arvangath/sets/video-game-composition-showcase-playlist User Id: 33696 The song file is attached to this email. Name of the game(s) arranged: Street Fighter 5 // Street Fighter III Third Strike Name of arrangement: A Reflection of Tyranny Name of individual songs arranged: "Crazy Chilli Dog" or "Urien's Stage" - applies to both games in which different versions of the song appear. Link to the original work and information about the composer: The tracks for Street Fighter: 3rd Strike were composed by Hideki Okugawa, and the pertinent track would be Track 20 - "Urien Stage -CRAZY CHILI DOG" with a duration of 2:33, as indicated by the information found about the aforementioned game's OST official release under the name "STREET FIGHTER III 3rd STRIKE ORIGINAL SOUNDTRACK" (1999) - Voice samples from VA Lawrence Bayne used in this arrangement. Source: http://vgmdb.net/album/3128 Recently, Urien came as a Street Fighter V DLC character, and showcases an Orchestral arrangement that has its unique qualities, but pays due homage to the theme from 3rd strike via the main chord progression used. Inspiration and reasons behind this arrangement: I've always been in love with Fighting games and their music. Where I live, one of the few entertainments were arcades, and when I was really young, I used to go there with my brother, and I vividly remember playing Third Strike and falling in love with Ryu, Q and Urien. Urien's stage theme has played loops in my head since those days, and particularly, the voice used by Urien's VA sticked with me. A powerful and commanding growl, almost like a rabid dog that yelled "GET READY TO DIE" or "CRUSH" and particularly - "AEGIS REFLECTOR" With this arrangement, I intended to reflect what I perceived 3rd Strike as - a powerful, fast and upbeat skullcrushing game, with great animations and sound design, that helped me fall in love with games even more, I'm mainly a bassist and recording artist nowadays, but I want to get better at everything related to Audio Production. I started making covers in YouTube as part of a contest, and to improve my Audio skills, since I'm an aspiring composer and sound designer for Video Games. I'm actually a Lawyer, living in one of the poorest countries of the world, but OC remix has accompanied me in the worst times of my life here, and I love the site and Videogame OSTs in general.I want to get out of here and obtain a job doing what I love - SFX and songs for videogames. Link to the Original 3rd strike song: https://www.youtube.com/watch?v=5k1Znk7P75c Link to the current SFV song (sorry for the extended version): https://www.youtube.com/watch?v=eLQU07VN_dI Link to this cover on my YouTube Channel:

Agreeing with a lot of what the others said about this - messy up until 1:10, then it starts to really shine (though with a screaming sax that's too loud toward the end). I have a few more specific critiques to give, but everyone on here is pretty much on point as to the issues here. The mixing in the beginning has a middleground that every instrument is fighting to take space in, while lacking any real foreground or background; that specifically makes it sound like one soupy mess for over a minute. While it gets better after the 1:10 mark, I don't think the mixing is perfect after, either - it's a great improvement to have a foreground, but the middleground still has too much competing for space there. Having nearly a quarter of your track sound really messy and hard to follow, followed by three quarters sounding pretty damn good (though not perfect, either)... It's pretty hard for me to justify passing this as it stands. Really clean up the first minute of the track, tone the sax at the end down a bit so it doesn't sound as piercing and I think you'd be good to go, as it's a really great arrangement otherwise. NO (P.S. Jazz flute is the bomb and I'm so damn happy you incorporate it in there)

Man, I've got to say, between this track and the dubstep variation of Star Wolf's theme you had on the WIP boards, you know how to get some solid mileage out of it, and to be honest I love both of them (albiet for very different reasons). I'm really enjoying the power of the epic orchestral style here, and the lyrics are actually pretty powerful (and fitting of Star Wolf's character, from what I can tell). Unfortunately, both of your Star Wolf arrangements share a similar issue, as well: I'm not hearing enough Star Wolf in this arrangement. If someone can hear more source in this please correct me, but this is what I pull from this track: 0:09 - 0:13 0:57 - 1:31 2:10 - 2:45 2:56 - 3:03 3:53 - 4:28 115s/278s (the last seven seconds are just silence - I won't count them) ~41% Source Stopwatching this, I'm getting pretty shy of 50%, and I don't quite feel there's justification outside of using this method this time around. I wasn't catching virtually any source in the singing, but perhaps someone with a more attentive ear can correct me on that. So what I'm saying here is that this is too liberal for OCR as it stands. Given the structure of this track I could see this being easily corrected via the use of Star wolf's theme as texture in the background of the more open portions (which you start the track off doing - 0:09 - 0:13 is a perfectly good way to get source out of that). More of that and I could see this getting over that 50% mark without too much issue. The performance is fitting, and gets pretty exciting, but it has a few issues that hold this back, as well. The vocalist, while having a great voice, does tend to go flat from time to time. A re-recording would fix this, but if you don't want to trouble the singer a little bit of pitch correction software would also work to touch this up without issue. I know autotune gets a lot of bad rep (thanks, T-pain), but it's actually a tool for making minor tuning corrections like that, so don't be afraid to use it in leu of making the singer work extra hard. There's also an odd moment from 3:11 to 3:29 where the singer sounds like she's off a beat. An easy fix in a DAW would be just to shift her back a beat for that portion, so I suggest doing so. As a final note, the singing comes off as too dry against the backing instruments; put a little more reverb on it so that it sounds like it's being sung in the same room as the backing instruments. I really do enjoy this one, but I think it could use a little more work before we post it up on OCR. Do send it back our way with these adjustments in mind, as I think it's a great arrangement. NO

EVAL Well, this was a pretty full of energy! You got some nice, meaty drums, the side chaining to really back them up, and the glitchy, something-step sound overall does the source wonders. I think the main thing that I will comment on is that your lead has a bit too much portamento to it. When it's really juiced up on the portamento the notes often just sound flat rather than sliding to them properly. As a rule of thumb, if the note spent more time sliding than it did on the note, it's not going to be recognized as that note, so tone it down when it's supposed to be landing on the notes (like at 1:36 - it sounds pretty rough there). I will also note that it would be nice to hear at least one other instrument used as a lead from time to time, as that lead starts to wear on you after nearly five minutes. Otherwise, I think you have something worth submitting, here. It'd be a borderline case even as is, but if you take Starphoenix and my word for the lead and switch it out once or twice for something else, and tweak the portamento where it makes the lead sound too swanky I think you'll have a pretty solid chance at getting posted.

Wow, this was one of the few that have been eval'd by Level 99 & Emunator, way back when. It would be nice if they dropped by periodically to say hello to the WIP boards again, from time to time, as they're pretty cool dudes. But I digress - time to give it an eval, Gario-style! EVAL Alright, you've spent quite a bit of time on this, and I do think you're close. The idea is interesting, and the source is recognizable. The production is in pretty good shape, to boot - I'm not hearing things like overcompression or limiting errors in this, which is good. You're probably tired of hearing the humanization issues on this, so I'll rephrase it in a way that might be more useful - your articulations are mechanical. Particularly, the attack envelope of your samples all swell when a real performer might only do such swelling at the beginning of a phrase. This afflicts most of your samples (solo violin, oboe, backing strings), so it's something that can't be ignored, if you presented this to the panel. Fortunately, most samplers that I've seen have knobs that allow you to adjust the attack of your sample, so decreasing the 'attack' of your samples will give you a tighter articulation. If that swell is inherent in the sample itself that's unlucky, but there's still hope in that samplers sometimes also offer an adjustment of where to start in the sample. Start after the inherent swell fo the sample and viola! Tighter articulation. I would highly suggest considering the phrasing of your instrumental lines, and focusing a little on when it makes sense for something to swell and when it makes no sense to do so, and adjust accordingly. I spent a lot of time on that (as it's the most noticeable concern), but I will also quickly point out that the mixing doesn't have enough focus to it. I hear a particular instrument (such as at 0:15 and 0:46) that pops out whenever it's around - that guitar. It really makes more sense as a supporting instrument, but it's mixed in a way that brings it to the front, at the cost of your more melodic instruments (like your violin and oboe). Past 1:45 it becomes difficult to follow your track, because of how things are mixed - there's little for the listener to grab onto, which results in the track sounding like it meanders. The strings sound like they should be the focus at that point, but they are mixed pretty far in the background (and have the aforementioned swelling that squashes their sound). Pay careful attention to your mixing. I do hope some of that helps you out. I hate to say this would still not pass the panel in its current condition, but I would be doing you no favors if I weren't honest. Pay attention to your articulations, and mix it in such a way that the listener can follow the most important elements and it'll fare better. Best of luck!

Alright, with a few responses in tow, I'll weigh in with my thoughts, here. Harmonically, I found little issue with it. It's unconventional; it utilizes bi-tonality for some portions of the track (such as at 2:40 - 2:58), and some of the moments that MW mentioned (like 0:41) have an intentionally downtuned triangle wave which makes it sound like it's clashing. The track isn't going to be to everyone's taste harmonically, as it dips in and out of tonality periodically, but I can't immediately mark this as wrong, either. Much like Uboichi's arrangement, I can't say moments of non-tonality qualifies as 'wrong', here... but that's admittedly up for debate, and a less important debate than the production discussion. I stand with Liontamer's assessment that being in mono dampen's the impact. However, know that I brought this to the table to clarify and codify the standing on chiptune a little bit further. Rushjet1's track is great, but realize that his track utilized the VRC6 chip (the famous Konami chip that expands the NES sound capabilities), while this is purely native hardware. If stereo spread and possibly tweaking EQ levels a tad is all we're talking about in order to improve their production to acceptable levels (as Liontamer suggested), then that would be great to inform future chiptune artists who plan on submitting. If the density of sound was not up to production quality standards (like MW was saying) then that's a different beast entirely and should be clarified in a completely different manner. As I agree with Liontamer on this, though, I'll give it the finishing vote. NO

The improvements are present, and though I don't think the harmonic issues were resolved I don't QUITE see them as deal-breaking. They're unusual, and they clash fairly hard for about two seconds in the track, but the rest of the track is great to compensate for it. It's borderline, but I think it'll be alright. YES

Man, I do wish MindWanderer didn't point out the excessive copy/pasta, as I think this is a great sounding arrangement... but yeah. I will note that at 2:54 the drum pattern omits the snare, which DOES give it a slightly different sound at first, but I don't think that was enough to mitigate the fact that the repetition goes on for such a long stretch of the track. The 1:44 - 211 repetition I didn't feel was nearly as offensive since it was used to lead into something different and interesting, which plays with the audiences expectations a bit. The synths were generally pretty vanilla, but they're used to good effect in this, as they really push the rave genre forward (and it works well with the source). The dirty bass that comes in and the use of SFX for accent does wonders for the track, as well. Great production, fun track, but the repetition at 2:54 is a deal breaker here. Thanks for sending it our way, though, and I do recommend others to listen to the Materia Collective album that this came off of, I'm certain others will enjoy it there! NO

Hi peeps, Game: Legend of Mana Title: I got potion! Orig. title: Wanderer's Path \ Source: https://youtu.be/b9OZwTLtrl4 I was originally working on this for a compilation aaaages ago, but I dropped off the map before it pulled together. I came back to it and thought I'd submit it. - Remixer name: jane Remixer ID: 28584 Actual name: Toby McCasker https://twitter.com/jane_tobes

ReMixer Name: AnalogStik Real Name: John Montoya E-mail: Website: http://www.johnmontoya.info User ID: 30916 Original Game: Sonic 2 Song Remixed: Chemical Plant Zone Submission Link: Submission Name: Chemical Rave Zone Note: Considering it's available for purchase, if this remix is accepted I will send you the .mp3 via Google Drive. Description: In celebration of the 25th Anniversary of one of the most iconic video game characters of all time, The Materia Collective proudly presents "Mobius: Sonic the Hedgehog Remixed." Over 80 arrangers and musicians have lovingly crafted 58 tracks that reinterpret both classic and current Sonic themes into a speedy amalgamation of Rock, Orchestral, Jazz, Funk and Electronica. Loudr: https://loudr.fm/release/mobius-sonic-the-hedgehog-remixed/eM6WS iTunes: https://itunes.apple.com/us/album/mobius-sonic-hedgehog-remixed/id1125506304 Spotify: https://play.spotify.com/album/1PFnUOrwUGiHwe81xA3JGU?play=true&utm_source=open.spotify.com&utm_medium=open

Contact Info: Remixer name - Phonetic Hero Real name - Pete Lepley Email adress - Site: https://soundcloud.com/phonetichero, https://twitter.com/PhoneticHero User ID - 44763 Submission Info: Name of game - Sonic 2, Sonic 3D (Saturn) Name of arrangement - Conflagration Source names (and links) - Gwyn, Lord of Cinder Composers: Motoi Sakuraba Additional: Gonna start with a little about what I've been up to, and a bit about how this remix came to be in the first place - I've been freelancing full time for about a year and a half as of this submission, and without a single doubt, it's been the hardest I've ever worked in my life. I'm going on almost a full year of working every single night with very few exceptions, though I knew the first couple/few years would be a grind to gain experience and work my way up. I've been scraping by for the most part, but I'm also very happy and grateful to be doing what I'm doing (if a little exhausted at times). This remix was "commissioned" by a friend who helped me out when I got financially sucker-punched and was at a very low point, and I can't thank him enough for saving my career from going dormant for a time. As for the remix itself, I've taken a few opportunities lately to try to improve my orchestral work. I've also never played Dark Souls before haha, but the source track has a mournful-yet-resolute vibe that really gripped me after hearing it. I tried to expand on that and stay true to the source, despite having pretty limited context for it in-game. Hopefully I did right by it! Thanks for listening, and a humongous heartfelt shout out to all my friends and fans who have helped me get to where I am today <3

ReMixer name: LcsDornelesReal name: Lucas Dorneles da SilvaEmail address: Website: https://soundcloud.com/lucas-dornelesUserid: 34018Submission InformationGame(s) arranged: Chrono CrossName of arrangement: Still A DreamerName of individual song(s) arranged: RADICAL DREAMERS ~The Jewel That Has Not Been Stolen~ Mp3 File:

ReMixer Name: DS Vocalist Name: Meg Real Names: David Sylvester, Megan Lesko (only wishes to have a mention) Soundcloud: https://soundcloud.com/ds394 Youtube: https://www.youtube.com/channel/UC_99CLE91nwBG7zNXQ9YUiA UserID: 34014 Game: Star Fox 64 Arrangement Title: Dark Hero (ft. Meg) Source: Starwolf's Theme Comments: "When the time comes, just act!" Other than playing Star Fox 64 as a kid, my obsession with Star Fox started out (as any n00b would with a lesser known franchise) with Smash Bros. and listening to the soundtracks that had been placed into the game, especially Space Battleground (which I at first never would have believed to be from Star Fox of all things, it's just too epic). So as I slowly started delving deeper into the soundtrack, the Star Fox Assault version of the Star Wolf was just so epic and classy that I was like "How could something this cool be in Star Fox?!". Fast forward a few months, when I was decently versed in the Star Fox OSTs, I attended a Regional Music Festival, and one song we played had a motif in it that sounded just like the Star Wolf theme, but with a different chord progression. I took that to heart, and I ran with it when I got home. I fiddled around with it for hours on my piano, coming up with ostinatos, basslines, extensions to the progression, instrumentations, and so on. Eventually, I had in my mind the idea for a full-blown epic orchestral mix of Star Wolf that was not just what Assault did. Forgot where in my thought processes this came from, but sometime I just knew I needed a vocalist. I even wrote about a counter-melody and an entire batch of lyrics before I knew how the heck I was gonna do it. Then one day, I thought about a girl that I knew who happened to sing pretty well in the school musical, so I showed her the instrumental and without even knowing what game the melody was from she was all into the epicness. So after a few days of frantic recording, we got it down and brought to life this modern, non-conventional take on a classic melody for the overlooked anti-heroes of Star Wolf. Thank you so much for taking the time to review this, looking forward to seeing your criticism DS (David)

ReMixer Name: LongBoxofChocolate Real Names: Trevor Burch, Daniel Perry, Aaron Schmitt, Nick Bello, Philippe Delage http://youtube.com/longboxofchocolate https://soundcloud.com/longboxofchocolate Game: Undertale Title: Glitterbomb Source: Death by Glamour Link: Hey everyone, Described internally as nothing short of "hot, bright, and aggressively fabulous," this is a disco glam rock (is that a thing?) cover of Undertale's Death by Glamour. Our saxophonist and resident cool-dude Hank led the charge, saying: "The original track is so funny to me because Mettaton is just so ridiculous and all over the place. I really wanted to grab that wild spirit." With that goal in mind, I think we were successful in really pushing the limit of just how many fat tracks we could cram into a single tune. Other notable highlights for me include the opportunity to incorporate dance synths into a rock band setting, Hank's interpretation of the half-time breakdowns and killer sax runs across the entire board. Some may think it's over the top; we think it's just right. So regardless of what the panel decides, Glitterbomb will remain one of my favorite overall tracks in the band's portfolio. Cheers!

Required infos ReMixer name: AtmoSage Name of game arranged : Kirby & The Amazing Mirror Name of arrangement : Jazzy Condiments Name of individual song arranged : Mustard Mountain Additional infos Link to the original soundtrack : https://www.youtube.com/watch?v=y0ZCwramhCU Comments about the mix: Kirby & the Amazing Mirror really marked my childhood. When I re-discovered the soundtrack not long ago, I felt some sort of Jazzy/Blues vibe floating through ''mustard mountain'', so I decided to make this track(on FL Studio, as always), to make this vibe come to life.I still got a lot to learn, but I had a lot of fun making this, especially the last part

Hey, it's me again, with another solo-piano arrangement from another of my favorite Kirby games (since Kirby can't get enough love!) I always loved Canvas Curse's soundtrack, since it was pretty much all made up of remixes of other tunes from the series, often with vastly different interpretations. Since for some reason I've always associated the sounds in Canvas Curse's compositions with colorful, abstract art and grand cityscapes, I tried to capture that in my arrangement. I added some chromatic chords in the B section of the melody, and generally favored the wider, fuller sound and varying moods of Canvas Curse's "Tiny Town" theme, all while retaining the airy feel of the original "Bubbly Clouds". Here's a link to the track: Contact information: ReMixer name - jdaster64 Real name - Jonathan Aldrich E-mail address - Website - www.youtube.com/jdaster64piano, jdaster64.tumblr.com User Id - 31995 Thanks a bunch! ~ Jonathan "jdaster64" Aldric