Gario

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

Contact Information Keypat Reborn Keren Yire Pava Torres https://www.facebook.com/keypatrebornof 33976 Submission Information Castlevania II : Simon's Quest Name of arrangement : Mind Blown Name of individual song(s) arranged : Bloody tears https://www.youtube.com/watch?v=wKWJkiWGS8M&list=PL9F796EFB79C2BA4F&index=9 comments: I like to musical arrangements and my boyfriend showed me this song so I liked the song a lot and decided to make and arregement, my boyfriend told me about this site, so I read the subimision guidelines and decided to upload it. as for influences I wanted to express my dream theater side, I really love that band, I like their odd times and changes, and jordan rudess is one my biggest influences on my music.

ReMixer name: jnWake. Name of game(s) arranged: Paper Mario (N64). Name of arrangement: "Teenage Mutant Ninja Koopa". Name of individual song(s) arranged: "Koopa Bros Keep Cool", "Attack of the Koopa Bros". Collaborators: Sir Jordanius, XPRTNovice. Note: This mix is supposed to be included in the Paper Mario project but I think that one is dead... If this manages to be approved I'd just post it since I doubt that project's happening. LINK TO ARRANGEMENT: Mix comments (mine): I began this mix as a remix of only Koopa Bros Keep Cool. That track has some sort of gangster blues feel or something like that (it's the bass line!) so I wanted to keep that feeling while expanding on the instrumentation and melodies. However, I noticed very early that I didn't really have much melodies to work with so I added a second source, Attack of the Koopa Bros (which is a remix of the classic Hammer Bro theme from SMB3). Anyway, I took this second source and switched a few chords here and there to give it that more evil-ish vibe! At first, the song only had one brass instrument, the sax lead, but when Jordan offered to collab on it, he added a lot of brass stuff and the song suddenly became really cool. He then got XPRT on board to play the lead sax and it really started to gain shape. It was very cool to have real instruments for the song since I wanted it to sound as real possible to get more of that blues mood. So, a lot of thanks to both Jordan and XPRT for adding their talents to this mix! I hope you enjoy it! I tried to add many cool chords and even a drum solo in the middle to make it interesting and blues-ish! Jordan also had some comments: "While wrapping up the album there was a short period where a few of us briefly exchanged emails showcasing our current progress with our respective tracks, and I started grinning and bobbing my head while saying "aaaawwww yeah, I like where dis be goooin!!" when I first heard jnWake's concept. I immediately suggested (And offered) live brass/general funk services since it's clear that synthesized/programmed brass just wouldn't have the same effect with this song. I'm personally not comfortable with lead horn parts (not a confidence issue, I just have a VERY particular niche which is why I prefer to provide Tower of Power parts rather than single lead parts), but XPRTNovice came in and did his thing as usual with some sick lead saxophone work. I will admit that some of my brass stuff is a bit rough around the edges and questionably pitchy in some spots, but I had loads of fun working with Jorge and Joe... (oooh shiiiii--- Jorge, Joe, Jordan. what does it meeeaaan? O_o) jnWake is hella good with instrumentation, mixing, and composition ideas and I absolutely love his treatment of chord phrasings and progressions. Sure, Joe and I threw in our little signature styles with our respective parts, but we were just following orders from the boss man. Been a business doin pleasure with these gentlemen. peace ~j" No comments by XPRT other than the fact that I made him play many high notes, which is difficult... Woops! That happens when you write for an instrument you don't play I guess haha. Song breakdown: 0:00 - 0:11: Intro. Not based on any particular source, just trying to create a nice mood! 0:12 - 0:52: Based on the main section of Koopa Bros Keep Cool. Bass plays the source's bass line while the piano and sax play the neat melodies of the source's organ. 0:53 - 1:10: Transition... Bass is based on Koopa Bros Keep Cool. 1:11 - 1:55: Based on melody A of Attack of the Koopa Bros. Bass line is taken from the source and the sax line is based on the source's main melody. 1:56 - 2:05: Based on melody B of Attack of the Koopa Bros, played by the piano. 2:06 - 2:20: Build-up! First part is based on Koopa Bros Keep Cool and the drum solo is taking the idea from the mix's intro. 2:21 - 2:30: Based on the intro of Koopa Bros Keep Cool. Sax line plays the main melody of the source. 2:31 - 3:22: Sax solo section! Piano is based on the Koopa Bros Keep Cool but it is a bit liberal. 3:23 - End: Repeat of the 1:11 - 1:55 section. Hope you like it

Track: ReMixer name: Overkillius real name: James Wilkinson email address: website: http://www.youtube.com/user/Overkillius userid: 33843 Name of game arranged: Soul Blazer (ソウルブレイダ) Name of arrangement: Free Your Soul Name of individual song arranged: The Mine (採掘場) Additional information: This was my submission for PRC327 Link to the original soundtrack: https://www.youtube.com/watch?v=azA7YbrYn5k I never played this game! I looked up some gameplay and a synopsis to guide me through the remix, but I've never had the chance to play this one. The compo was loads of fun and the material turned out to be much more interesting in a remix than I had expected; it just came together really nicely and I'm pretty proud of this arrangement. Nothing too weird here to talk about musically besides maybe some of the harmonies, but I think any explanation of that would probably be not worth it for this particular song. I mentioned that I was proud of the arrangement, but I am also pretty proud of the synthesis and the mixing and whatnot. This is my third complete eurobeat song, and I went from having Famitracker and Finale as my only electronic music experience before I started, to only using the Odyssey Eurobeat Beginners' Pack with no mixing besides faders and a limiter, to doing everything myself from the mixing to the effects to the synthesis/layering. The one exception in this song is the drums; I don't want to negatively bias the judges before they actually listen, but I have to confess that I'm still using a drum loop from the Eurobeat Beginners' Pack; I do at least chop it up and use some hipass and bandpass automation to achieve effects and vary it up a little to fit the song better. Original submission comment for PRC327: I've never heard of this game before now, but reading up on it, watching gameplay, and remixing it was a pleasure. Hope you like Eurobeat

Contact Information Username: timaeus222Name: Truong-Son Nguyenhttp://soundcloud.com/timaeus222http://tproductions.comeze.com/ ID: 24526Submission Information Game: Metroid Prime 2: Echoes, Metroid (NES), Super Metroid ReMix Title: Attack of the Drones Consoles/Platforms: GameCube, Wii; SNES; NES OST Composers: Kenji Yamamoto; Hirokazu Tanaka; Kenji Yamamoto, Minako Hamano Sources: Torvus Bog (Metroid Prime 2), Title (Metroid NES), Lower Norfair (Super Metroid) Composed for the 30th anniversary of Metroid! Comments: "AngelCityOutlaw: Told you we'd see you next mission. timaeus222: A wild collab has appeared! This time, it's a heavy cinematic, Hans-Zimmer-inspired medley of Metroid themes! This was pretty hefty on resources for me: Shreddage Drums, LA Scoring Strings, Pearl: Concert Grand, and more, which evidently conspired against me to crash FL Studio like 20 times. But that's not all - we planned to write this in 5 days, and made it just under the wire; a few hours later, I began my move for grad school in WSU for my PhD in computational chemistry (chemistry + computer science). So to those of you who have been listening to my music, thank you for being avid gamers and lovers of music, and I hope to continue composing even a little in my free time (I did gather most of my music resources for the trip, except for my good headphones), and when I return home during Christmas breaks and summers." Extra Info: Rough Source Breakdown: 0:00.0 - 0:27.7 = Title (Metroid NES) 1:14.3 - 1:42.3 = Torvus Bog (Prime 2) 1:58.2 - 2:11.1 = Lower Norfair (Super Metroid) 2:20.8 - 2:48.8 = Torvus Bog (Prime 2) 2:49.9 - 3:12.4 = Title (Metroid NES) 27.7 + 28.0 + 12.9 + 28.0 + 22.5 = 119.1/193.9 = ~61.4% 27.7 + 22.5 = 50.2/193.9 = 25.9% Title 12.9/193.9 = 6.7% Lower Norfair 28.0 + 28.0 = 56.0/193.9 = 28.9% Torvus Bog

Note: Will need a new title, if this passes. EDIT (5/10): The artist has decided to rename this track "Vacuum Shell", so the naming conflict should be considered resolved, for all intents and purposes. Hello again, remember i was telling you about those two lost remixes? I guess i'm ready to send you guys the second one. Again, only 320kbps file is available, i hope it's not huge deal. PS. May i change my remixer name from ninecoin to ninecoins? For both tracks (the first was The Legend of Kage) Track info: remixer name: ninecoins name of the game: Beneath the Steel Sky name of the arrangement: Beneath the Steel Sky - Press Room (ninecoins dub) name of the song: Press Room Thanks for listening!

I am submitting my remix of the Indigo Plateau/Victory Road Theme, I have named it The Climb Above. I will link to my soundcloud where it is posted as well as attach an MP3 in the proper format/quality. The quality on soundcloud is 44.1k/16-bit but it is a WAV file, as it makes the upload more consistent in volume and representation. If there is anything more needed that I didn't manage to see or skipped over in the instructions then please let me know! Thank you for your time! Sentient Pulse Brett D'Agostini www.soundcloud.com/sentientpulse

I really do like this source, as it gives the arranger a lot of free reign as to how it should be handled. Being only a series of depressing chords means that in order for the track to be interesting for extended periods musicians really need to get clever with the material. I hear the changes made to this track (the slight alterations to the harmonies, the adding and dropping of instruments in each iteration), but overall it never feels like there is any motion or change in the track in its 5:44 minute run, which makes it sound static and uninteresting by the end. Change things up, don't stick so closely to the source on which harmonies follow which; it's a very limiting design issue inherent to the source that's holding this arrangement down. The mechanical instruments are a bit of an issue, too, but it's not too crushing in my opinion. The articulations are pretty mechanical, always utilizing a slight swell to them. You can create a better sense of phrasing if you utilize some legato, or you can make the swells sound more intentional with each chord by making them a bit more extreme (or do both, for the sake of variety). I don't have much issue with the artificial choirs myself, though that might be because I'm a bit biased in favor of them (it's why they often find their way in my music). The overall atmosphere of this is actually pretty divine, which I get a real kick out of. The overall arrangement almost sounds like a sad homily in a church, which makes this really ooze with flavor. If there was more variety in the overall arrangement I would easily enjoy sending it to the front page (and humanizing the instruments better wouldn't hurt, either), but as it stands the arrangement does need some touching up. NO