Gario

EVAL ... was that Mars from Holst's 'The Planets' at 3:28 and 4:00? Nice touch. *ahem* Honestly, the performance is great, and the sources are cleverly arranged. If I had to critique it, there are one or two moments of hesitation that, while probably intentional, sound more like that - hesitation. It's super nitpicky, and something that others will probably not care about, so don't worry too much about it. Really not much else to add, though; if you submit this, it'd very likely pass, so send it off with my blessings.

Hi, I want to submit my arrangement of "Cave Dweller Concert" by David Wise. It can be found on my SoundCloud profile under the following URL: ReMixer name : germanjazzguy real name: Patrick Schürmann user-ID: 33770 Game: Donkey Kong Country Name of arrangement: Encountering The World's Ancestors Songs arranged: Cave Dweller Concert (original arrangement can be found here:) https://www.youtube.com/watch?v=oZcyxhtQluk Composer of Source: David Wise Cave Dweller Concert has always been one of the songs from the DKC score which I didn't really mind about. It was just there when you're playing the cave levels in DKC and yeah, that was all I had thought about it... until january 2014 when I happened to hear the ENTIRE piece (which means including the calliope lead und flute parts in the end) on YouTube. I especially found the Calliope part beginning around 1:47 very atmospheric, it always gives me the chills when I hear it. Around this time (more precise: when I first got beyond 1:47 listening to this tune because of it not resetting itself due to a bonus stage in the game before this time!) I realized that it is a true soundtrack-masterpiece (well, better late than never, one might say) and started to play it on piano. Two years later, I started working with a new soundfont, which had a great goblins-synth sample...and outstanding vibraphone samples...and there was also a timpani on it...and, hey! if you put together two measures of 1/32-notes played by claves and let the touch response gradually rise and decay, it sounds like a bat that is flying... o.k., when this all together shouted CAVE DWELLER CONCERT!!!!!!, I also got the message and started to work on this Remix. Inspired by some church music scales, I wrote the goblins solo that starts around 2:51, then invented a new intro based on a d pedal point and arranged the A-theme of Cave Dweller Concert for Vibraphone and a Synthesizer. This arrangement is the result. I hope you like it! germanjazzguy

For the record, I marked this as Super Metroid as that's the 'Ur' example of this source, and I didn't see anything from the Metroid Prime source that differentiated the two. Since he said it was an arrangement of Metroid Prime I also included that source, too. I find this to be a pretty well balanced arrangement, myself. The arrangement, while being a touch static, does do different things with the elements that it has to keep it interesting throughout the track. I'm not hearing the over-compression issues mentioned; any pumping sounds intentional in this rather than a mistake. At best, perhaps the bass drum causes a little overcompression when it hits, but it's pretty minor, if it's there; it's not nearly enough to bring down the track as a whole. There IS a random note at 3:15 that sounds like a rendering error, though; it's like the volume shoots up for a moment then normalizes. Things like that happen to me sometimes when I change the envelope too quickly, so keep an eye on things like that. I'm not getting the same vibes as MW on this one - I thought that while it drags on a little bit it doesn't get offensively static. The arrangement has good form to it, and there are some neat things (wubs, arpeggios, etc.) that keep the listener interested for a ~3 1/2 minute track. YES

Superman for the Sega Genesis? Didn't even know it existed, but it sounds like it could be better than the more... infamous installments. But I digress. I like the style that you have going here - sounds like a blend of classic rock with some more electronic elements, and I dig that. The mixing of it is a bit questionable, though; the guitar tends to be pushed more to the back of the mix, and the bass is mixed too close to the front. When many things go at once (especially at 2:28) the mix gets very muddy, with all of the instruments fighting for the front of the mix. Figure out what elements are important and what elements should be in the background, and mix them appropriately. The EQ balance throughout seems to also be off. It's partly because the bass is mixed so close to the front, but overall the EQ is pretty bass heavy, and lacks in the higher EQ department, which makes the track sound dull. Balance your upper EQ a bit in this track, either by using brighter instruments or raising the high EQ a bit for a few instruments; that'll give the arrangement a cleaner, crisper sound overall. As far as the arrangement goes, MindWanderer is right: it's a bit too conservative for OCR, as it stands. While there is a nice breather section at 1:16 and some soloing lead work at 2:13, for the most part it repeats the same arrangement multiple times, which is very close to the source material. The fact that there is a lot of copy/pasta throughout also works against you, as much of the track sounds like padding due to this. Great source, some solid performances and nice synth work throughout, but the arrangement does bar this from OCR a bit. For the future, do pay attention to your mixing and EQ balance, as well. NO

Haha, I remember this from the WIP boards; it does seem that you took the limiting advice to heart, because this does sound pretty beefy now compared to when you started. The guitar work is tight, and the drums really have a lot of power behind them; this is a really fun cover. Improvements aside, I do wish you requested a mod evaluation then as well, because I would've been able to tell you the arrangement was too conservative for OCR as it stands. Don't get me wrong, I like it, but it's not something that we can post due to how close it is to the source. MindWanderer is also correct in that the drums are balanced too close to the front, which costs you the presence of your guitar and bass. It's a small balancing fix, but still something you can pay attention to in your next arrangement. I was never sure what the silence in the beginning was about, save for the drums setting the beat, there really isn't anything from 0:00 - 0:18 that justifies its existence. Starting from 0:18 and going from there would be a much cleaner approach, and it would catch the listener's attention right away. I really liked this in the WIP boards, but it's not something we can accept due to how conservative it is. Thanks for sending it our way, though! NO

This is a very tough call. The performances are phenomenal, and overall the listening experience is incredible. On the other hand, the shifts in pacing and mood pushes the 'multiple arrangements placed next to one another' sound that we don't like in medleys. On the other OTHER hand, the transitions are not bad, either - there was effort to make it sound like a cohesive track, and it does show. On the other other other hand, though, you called this Chrono Trigger Medley... Really. Just saying, there. I disagree with the comment that individually the arrangements are too conservative, as there are a lot of cool details behind the scene that keeps things interesting (like the string textures behind the forest theme, and reharmonizations for the Ocean Palace), not to mention the related but original material used to bridge the sections. If the pacing didn't shift between sections this would be an easy YES on the books, but with those fairly large swings in mood and pacing it makes it much more difficult to give it a clean pass. MindWanderer's observations are not wrong, but I think the transitions are just good enough to consider this something of a musical suite rather than a disjointed series of arrangements slapped together. I'm going to swing just to the other side of things here, but I can see others going for the NO on it. Oh, I think the violins sound great, personally - the more distinct harshness make them great for solo performances and duets. Might be just me, though. YES

Sure, I'll help clarify. Also, thanks for the link - Newgrounds, while unconventional, certainly hosts well enough. Hey, I used it for the longest time, myself (might get around to posting more of my music there someday), though if you submit simply attaching the 192kbps Mp3 to the e-mail is preferable. First, as far as being conservative is concerned if the track sounds too precise to the source then it's not eligible to be a posted remix. It's also ineligible if the arrangement has too little connection to the source material - OCR is all about that sweet spot between having the source recognizable while putting your own spin on it. It's not objectively a good or bad thing how conservative or liberal a track is, but when we do mod evaluations here we need to consider what will be post-able on OCR, and that's just the site requirement for posting material. This falls within the parameter, so don't worry too much about it this time. As far as 'static' goes, it's an informal term used to mean when the soundscape sounds the same for long stretches of time. If you don't change it up for long periods, the music starts to sound the same, which is tiring to the listener. In this track's case, the bass, the drums, the texture, etc., sounds like it's all used in the same way from 0:10 to 1:30, going through the source twice relatively straight. The change in melodic instrument helps change things up a bit, but the fact remains that the rest of the instruments are all being used in a similar manner, using similar textures and patterns for a long period of time without break. 'Vanilla' simply means the synths sound basic and/or like common premade synths from a program utilized without some form of personalization. Granted, I do hear the use of EQ envelopes to keep it interesting at some parts, which helps alleviate this issue somewhat, but it's not quite enough in that first section. I'll paste a nice summary of this term here, used in another thread: Again, this applies more to the first half of the track than the second, so keep that in mind. I may make this a sticky someday, since it's a lot to write out. As far as the drums, to put it simply: yes, the kick is not loud enough. From what I can tell the kick doesn't have much bass EQ, so either tweaking the EQ so it has more bass or finding a kick with more low end would help considerably. I do catch two snares in this, and one IS very wet. I'm likely talking about the dry snare, and I'm not talking about more than a few clicks of reverb on it; it's just so it matches the wetness of the other instruments. Hope that helps.

Sorry! Kind of busy behind the scenes, sort of missed this one. EVAL: Going to throw this out there, it's preferable to be able to download the track over simply listening to it on Youtube. Youtube is a great site, but it's nice to be able to analyse the waveform when giving it a review and such, which in turn helps us give you more accurate advice. Just sayin'. Interesting (and repetitive) source, and at first this is a pretty conservative take on it; it concerned me that it might stick to the original a little too much. However, there's a great middle section at 1:30 that really keeps you on your toes. I didn't hear too much source connection there, but it did a great job giving your ears a break from the rather static nature of the first minute and a half. The beginning portion (0:10 - 1:30) has a pretty static soundscape. Those relatively simple synths all do the same thing all the way through with little break and play through the source twice (though the melodic instrument changes at 0:51, which helps a bit). It's not bad, per se, but it does lead the listener to believe that it's not going anywhere before you can really change it up at 1:30. The fact that a lot of your synths are vanilla doesn't help you in this regard, either. With the saws and rectangle waves, the synths are made up of a lot of simple waveforms. I obviously have no issue with these types of instruments (being a fakebit/9-bit arranger myself), but until the 1:30 mark there doesn't seem to be any reason to be using the synths you've used. In the beginning you use EQ envelops to keep your synths interesting; I suggest utilizing other envelops and such in that section to keep your instrumentation interesting for the listener, which would also help make that beginning section less static, as well. The drums in this have little presence. They're fitting, but that bass should be mixed more to the front, and that snare is extremely dry against the wet backing. Giving the percussion some more attention in the mix would help with the track's overall impact on the audience. If it comes to it, consider sidechaining the bass a little to give the bass drum more room in the mix. Did I mention that I love where you took this in the middle through the end? I love where you took this in the middle through the end. This would likely be one of those tracks where some people on the panel would give it a YES and others would give it a NO, where it stands. The arrangement is strong (as is the production), which might get this a pass in its own right, but the static nature of the piece for the first 1:30 would certainly hold this back, as would the weak drum presence and vanilla synths.

Got to hand it to MindWanderer for pointing out the strings sounding fake and the glitching not meshing well with the track - 100% agree with him on those counts. I'll also add that the horns at 0:46 also sound a bit fake, due to how the attack is handled (having a swell for each note). Otherwise, this is a well produced arrangement that makes sense as a coherent piece. It doesn't make me think that three sources are being used at any point, which is pretty impressive as far as arranging goes. While the humanization and strange use of glitching are an issue, it's not enough to give this anything other than a YES. YES

On an interesting aside, Darkesword is right, first and foremost: if you merge sources, think not about absolute pitch (e.g. What notes are being played), but more about relative pitch (e.g. what scale degrees are being played). I'm glad he pointed that out, as it can help make the intimidating process of merging sources far more manageable. As someone who wants really great music to come from this, I can give just a few more ideas on how to handle your sources: Give a precursory thought about form. There's no need to get into too much detail, or give more than a minute of thought on it, but if you have some idea that you're going to make a short ABA track it can help generate ideas when you'll use what source, which alleviates writer's block. A nice trick I personally use, for example, is using sonata form when mixing four or more sources at once (such as my older track 'Magnus Divinicus Chiptunicus'); AB C AB (that's Sonata form: Exposition 'AB', Development 'C', Recapitulation 'AB') gives you a lot of room to use very different ideas while still having a cohesive sounding piece. That's a personal trick of mine, but you can use many more established forms to keep your track from becoming two sources stacked next to each other. For people who are not used to mixing sources together, this will help keep you on track. Shape ("Contour") is more important than getting the exact intervals correct. Rarely can you get a theme to match with another sources harmonies without changing some of the intervals notably, so don't be afraid to change the size of the intervals for important themes if it helps harmonize it better with whatever music you have underlying it. As long as you don't change the shape of the theme, it will still be recognizable. Rhythm and beat pattern is a powerful motive in its own right. If a source has an iconic beat pattern (say, MM2 Wily 1's famous '2 gallop + three 8th note' pattern), people will make the connection between the sources no matter what notes or shapes you make with them. As far as submittable material it'll give you a funny look on the panel claiming it as source, but using rhythms as compositional glue to keep it grounded in more original sections can really help make something sound cohesive. There are all sorts of smaller tricks to the trade, here, but these should help on a more general level. I'm hoping this turns out to be a great compo, with lots of solid music and growth for people here.

Oh shit, I'm up against Jorito? This'll be a tough match-up - best of luck, man! Good sources, though - easily the most recognizable and fun to arrange.

Oh shoot, sorry! I looked up your name on Google and while I saw a soundcloud page, I wasn't 100% sure it was yours, is all. For some reason your OCR tracks didn't pop up on the search. Glad to have you aboard!

Alrighty, I'll hold that track for you. Do send me via PM a sample of your work, though, as unfortunately I'm unfamiliar with your music.

Joe, Jordan, Jorge... Sounds like y'all are the Jammin' Jo-Jo's! ... er, anyway. Track sounds smooth, jazzy and all around badass. I think the piano sounds pretty mechanical, especially against that brass and sax work, but it's not exactly crushing the track. It's a touch drawn out (as MW suggests), but again not something that detracts enough from this to deter my vote. I'm diggin' it. Let's get er' done, eh? YES

The rapping is pretty slick, and as Liontamer suggests the backing does evolve and transform over time. I worry that the backing gets pretty darn muddy, though, with all of that heavy reverb and delay. The instruments (like the pizzacato strings) often sound mechanical and lacking in the TLC department. It's a pretty tough call on my part, because I think this track gets it right where it counts (that rapping, and the clarity of it... even the part about New Jersey :P), but again, the mud and mess in the background. I think it passes, but I highly suggest toning down the reverb and delay next time around, so that the music doesn't sound so messy in the background. YES

That opening and build... it's a solid base to build on. Then the synth at 0:40 comes in, which didn't mesh with what you established. It's more of an illusion of space more than anything - that synth did not sound like it was recorded for the same song, with all that hollow sounding reverb layered on top of it. Definitely agree that the transition at 1:36 came from out of nowhere, too - I didn't hear anything that lead me to believe that was where the song was going at all. I could continue to talk about the strange synth combinations and such, but I think the others above covered that well enough, so I'll focus instead on a few parts that really stood out in a great way. The first forty seconds of the track really set up the atmosphere effectively - that haunting harpsichord and walking timpani set up the listener for something powerful. 3:28 - 4:30 has so much mass behind it without actually sounding cluttered (the hats were still distracting, though, as Liontamer said), and the increase in tempo was an effective way to build tension. The ending was also a great way to release all of that energy, with they dying arpeggio and subtle bass. The source is quirky, and this approach ranges from regal to quirky itself (which doesn't necessarily work in your favor, as the piece does sound a bit unfocused), but I'm with the others when they say the beats are pretty bare and that the synth work is vanilla. When it's clicking on all cylinders it really has me going, but there's too much that I feel I need to wade through in order to get there. Hopefully you'll find some of what we said on here useful, though. NO

MindWanderer has it pretty solid on this one - great production save for a few moments where it crowds, and a surprise factor behind just how much this builds from the rather tame beginning synths. The arrangement is pretty great, though - I like that this track has some real shape by alternating from heavy, deep electronic to a lighter, more soulful keyboard portion in the beginning. While some make additions and subtractions to the source to create variety, this instead chooses to play with the density of the track to get the same results. I feel the reverb on this was pretty excessive, though, which contributed to the muddy moments negatively. It's not a deal breaker (I even mentally justify it, saying it's a track for a cave area), but it IS something to be aware of for your next track. I think it'll be a fine track to post, though. See you on the front page! YES

Haha, that Eurobeat really brings life to a rather dull source. After hearing this track I listened to the source and it was nothing like I expected based on this arrangement, which I suppose is what OCR is all about. The production on this is pretty bright - the main synth at 0:09 really fills the high end of the EQ to an almost problematic degree, but it's not enough to turn me off to the arrangement. The synth brass work has a lot of flavor to it that really sells the idea of making this a Eurobeat track. As far as the arrangement goes, I appreciate that it definitely gives the listener room to breath from time to time with lower key moments, but it doesn't ever lose its energy. The four-to-the-floor drumwork is pretty boring, though - it really could've used a bit more variety than having the crashes create bridges from time to time. Other than the somewhat bright synth brass and static drum work, though, I've got little to criticize this for. I think it'd make a really fun post for OCR. YES

I've been listening to this track for months, but surprisingly I didn't really listen to the sources until now - on its own it's just that good. I find it very interesting in the breaks that there is a LOT of original material which could've led to you using too much 'Good, Bad, and Ugly', but it's really just that - original material. I hear some of the infamous guitar arpeggio from that movie from time to time (like at 4:20), but surprisingly the direct references are very few and far between. That's good, because I'd REALLY hate to reject this due to breaking site rules on that. The source breakdown helps quite a bit, and it shows that while there IS a lot of original material, it still has about a 56% connection to the sources, which is within acceptable ranges. The seamless blending of bridging material and the two sources in the style of 'The Good, The Bad, and The Ugly' really works wonders for this, and the production values are top notch - I'm looking forward to this being on the front page (when the album is released)! YES

Definitely not the same instrumentation - the original sounds more like a MIDI arrangement, where the arrangement is more in a fakebit style. There are interesting differences in the texture and instrumentation, but I will concur that this is a pretty conservative arrangement. That ending is pretty sudden, but I don't think that's a crushing issue - it just is an odd way to end things. The mix is definitely clean, though, and the percussion, texture changes, etc., do give it some more personality and less of an atmospheric feel than the source. It's a tough call, as I think MindWanderer has a point on how conservative it is, but I think it's just transformative enough to place it on the site. Also, I wasn't aware of the original source, so thanks for the link, MW. YES

Ah, I remember catching this on the WIP boards after you submit it, so I think you'll know what I'm going to say. But I'll say it again, in official capacity: the arrangement is pretty clever, with some slick solo'ing and lead work later in the song (and how the texture is handled at 2:29 is pretty brilliant, to boot). The production isn't too shabby, either - no real cutting out or clipping that I can tell. There are a few things that hold this back, though. The sound design is quite vanilla for a good portions of it. It's as if the basic presets on a program were used carte blanche, chosen just to carry the notes rather than really being a part of the arrangement. As I said in the WIP boards (in more detail there), make your choices sound intentional rather than incidental. The moments in the beginning of the track that sound out of rhythm are also quite distracting (particularly from 0:25 - 0:40). I understand that this was likely intentional, but without the context of the rest of the track behind you the part sounds like a mistake, like you had the instruments come in at the wrong place. Later you've established that you have a solid grasp on the meter so it sounds more intentional, but it just sounds wrong in the beginning. Be careful on your mixing. While everything is pretty easy to hear, there are moments where the leads really shoot to the front of the mix, which limits your design space a bit (a REALLY loud/up front instrument makes it harder to raise any other instrument's levels without causing production issues). Moments like 2:20 accent this issue well; the loudness of that lead makes everything behind it sound quiet and insignificant in comparison. While it should pop to the front, balance it better against the other instruments and you'll be able to have a fuller sounding track by the end of it. I do hope you hear more from you, though - take heart that this is still a pretty enjoyable track. Sound design and more balanced mixing would bring this over the top, and taking another look at the tricky rhythms in the beginning would be great, as well. NO

Listened to this song about 100 times after hearing it on the WIP boards, and I can't get it out of my head. It's so goddamn cheezy that I can't help but love every bit of it. There's quite a bit of solid composition in this, to boot - really good blending of the Zelda 1 overworld with the Wand of Gamelon theme. I can't say that I don't love that you stuck with my naming suggestion, either, lol. Not much to say other than my praise, but my ears may have just gotten used to it over time. I think it's high time for our first Phillips CDi remix on OCR, and this is the perfect candidate for it. YES

ReMix: Only Link Can Do the Duck Walk () ReMixer name: Hylian Lemon Games arranged: Zelda: The Wand of Gamelon The Legend of Zelda Songs arranged: Zelda: The Wand of Gamelon - Overworld Map (https://www.youtube.com/watch?v=-GC1MR8q5oM) The Legend of Zelda - Overworld (at 1:05-1:08, 1:56-2:17, 3:04) Wand of Gamelon info: System - Philips CD-i Composer - Tony Trippi (Note: Wikipedia also credits William Havlicek as a composer. The in-game credits list Trippi under "Soundtrack" and Havlicek under "Audio Producer." An interview with the director of the game also credits Trippi as the sole composer. I can't find much of any info on Havlicek. So...I have no idea.) Comments: Link is the only person known to have mastered the duck walk. When he's in trouble, it's up to Zelda to save this ancient art! I'd been wanting to arrange this tune for a while, but I didn't have any solid ideas until I started a spreadsheet to keep track of all my past and future Zelda ReMixes. First I thought, "Well hey, what if I change the rhythm to something a bit peppier?" After that, the pseudo-80's-pop-chiptune aesthetic just kind of leaked in unintentionally. It's not a big leap from the style of the soundtrack as a whole, but maybe a little goofier

Contact Information ReMixer name - Andrew Thompson Email address - Website - https://www.youtube.com/channel/UCZ7uHvfPDJH1xrD2sVViWqg Userid - 33982 Submission Information Game - Chrono Trigger Arrangement - Chrono Trigger Medley Songs - Lavos, Secret of the Forest, Undersea Palace, Corridors of Time Additional information - Composed by Yasunori Mitsuda Comments - Performed and arranged by Andrew Thompson with Kristy Mezines on Piano and Fernando Valencia on Percussion

To be honest, I actually consider this to easily be a DP, except for pending opinions on slight 'The Good, The Bad, and The Ugly' references (including in the title... just caught that, lol). I think they're so minimal as to not affect the mix's standing, but I thought it could use a run by the other judges really quick on that point. - Gario This track is going to be part of the Skies of Arcadia album. Hey there, Remixer name: Jorito Real name: Jorrith Schaap Email: forum id: 3899 ReMixer name: Furilas Real name: Mac Hunter e-mail: forum id: 17903 ReMixer name: Aster Real name: ? (he seems to have disappeared?) e-mail: ? (he seems to have disappeared?) forum id: 24637 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: Skies of Arcadia Name of Arrangement: Il buono, il brutto e il pirata dell'aria Names of songs arranged: Eastern Air Pirates (https://www.youtube.com/watch?v=-hmKkEHi6FE), Yafutoma Dawn (Skies of Arcadia OST-Yafutoma Dawn) Link to the remix: (This is my own mastered version, not the one that might happen for the album release. Whenever that mastered version gets done, I might send an updated link) Comments about the mix: Full cast: Arrangement, whistling, production: Jorito Lead guitar: Aster Harmonica: Furilas Vocals: Lauren the Flute Jorito: When I discovered the Skies of Arcadia album project, I was thrilled. I have a lot of good memories of the game from my Dreamcast days and since the album is for an RPG I actually played and enjoyed a lot I couldn't not write a track. Browsing through the OST I stumbled, I stumbled upon the Eastern Air Pirates track, which instantly gave me an Ennio Morricone vibe. Since I've always wanted to create a spaghetti western style track, it was too good to pass up. Of course that means using all the classic Morricone sounds like the twangy guitar (courtesy of Aster), the harmonica (courtesy of Furilas), the soaring soprano vocals (courtesy of Lauren the Flute) and of course the whistling (courtesy of yours truly). Creating the spaghetti western vibe came so easy that it felt like cheating, but the flow of the track, the incorporation of Yafutoma Dawn and overall production took considerably more work. Still, I am very happy with (and proud of) the end result and am very grateful to my collaborators that made the Western vibe come really alive and made the track great. Thanks a lot guys, onwards we ride. Yeehaa! Furilas: I'm gracious for any chance I get to dust off my harps these days, even if Jorito insists on authenticity and I'm doomed to wearing a poncho and spurs in midsummer sessions. Well, like they said at the remix battle of Silver City in 1862, "never let heat stroke get in the way of a good take!" Lauren the Flute: I was lucky enough to grow up with both Sega and Nintendo consoles, and I've always loved RPGs the most. Naturally, that means my sister and I put a lot of time — like, a lot of time — into Skies of Arcadia on the Dreamcast. I've also been obsessed with Ennio Morricone's music since long before I knew the composer's name. Therefore, when Jorito approached me to see if I'd be willing to sing on this track, I immediately said yes because it's a combination of several things near and dear to my heart! I can't say I quite captured the feel of Morricone-style operatic singing, but I did my best to do this track justice and I'm proud to have been part of it. Thank you! Source breakdown: 00:00-00:32 - intro (original) 00:32-00:48 - eastern air pirates part a 00:48-01:05 - original build/horn part 01:05-01:37 - eastern air pirates part a (0:00-0:36 from source) 01:37-01:53 - eastern air pirates part b (0:36-0:51 from source) 01:53-02:10 - eap / yafutoma dawn transition 02:10-02:26 - yafutoma dawn melody (0:59 from source) 02:26-03:15 - original break 03:15-03:31 - eastern air pirates part a in the background strings / horns 03:31-03:47 - original build 03:47-04:20 - eastern air pirates 04:20-04:36 - yafutoma dawn melody (0:59 from source) 04:36-04:50 - rest of outro Cheers, Jorrito