DarkSim

Not much I can add to prophetik's excellent feedback on this one, but I will say that there's already a terrific Touhou orchestral arrangement on this site from a different game, but a similar-sounding source. Have a listen to PrototypeRaptor's amazing Devil's Advocate from 2010, and try to strive for these heights! Pay attention to the progression, the dynamics, and the ebb and flow of the instrumentation. I'm not saying it needs to be as good as Devil's Advocate, but there's a lot you could learn from that ReMix that would help you here. Best of luck! NO

"What the Qfwfq is this?" I found myself wondering on first listen. Having never heard the source, and expecting something experimental from yourself, I still wasn't prepared for what I was about to hear. The first 12 seconds or so remind me of something by The Avalanches, except you're not sampling anything - it's all original sound design chopped and mashed together to create a similar effect. There's a similar melody to the classic one from Close Encounters of the Third Kind that appears around 30 seconds, which is fitting because this is so alien to my usual tastes that it's a challenge to evaluate objectively. Nonetheless, there's a certain magnetism that has been conjured up in these short minutes which is a testament to your sound design and arrangement. Without using traditional methods (you know, things like a beat, groove, or melody...) you've somehow captured my attention and held it for the duration of the track. I'm not sure whether I love it or hate it by the end, but I definitely appreciate the artistic endeavour. After 3 listens, I heard the source tune, and that went some way to explaining the weirdness. The rest is just Hudak being Hudak. I'll disagree with my fellow judges when it comes to the crunchiness of the synths after 1:19 - I didn't find them unpleasant at all. The sound design is 100% intentional here, and although it may sound like a clipping-style crackle, those crackles have some processing on them and evolve in their own way which means it's not purely digital distortion. I think it's a very clever way of managing to fill out some of the mid-high frequency ranges without using a pad/other harmonies/traditional percussion. I think I've somehow managed to talk myself into this one, after my initial reaction. Cerebral stuff as always Michael, thanks for the submission! YES

Love the vocal processing, especially the higher register stuff. Some of the recording is getting into ASMR-territory though - the word "luck" particularly sounds like you're about to lick my ear! A little too close for comfort there. The soundscape is well-crafted, and the beat is crisp and tight. I didn't hear the original, but it sounds like Kris has done a superb job with the mastering. No complaints there at all! Arrangement is pretty straightforward, I think in a perfect world I'd have liked a solo (I bloody love a solo), but there's a break/bridge from 1:59-2:21 in between a couple of choruses, and nothing feels repetitive. YES

Amazing energy and arrangement, but there's so much going on that a lot of detail is being lost due to mixing issues. Often I can hear the choir louder than the lead guitar, and the low strings sound great until anything else is competing in the same frequency range, and then I'm hearing a lot of mud. 0:59-1:16 there's something in the left channel that sounds like a choir maybe? I can't tell what the instrument is, as it's very muddy and perhaps 1 layer too much. The final section from 3:57-4:22 is by far the cleanest, and sounds awesome! I find myself wishing that all the previous parts of the track sounded on par with that section. 1:44-2:28 also sounds good, then once the hi-hats come back in things start getting very busy. If you can go back and clean this up so that all the detail can be heard without really straining to listen, the remix will be improved massively! I hope you can give this one a listen with a fresh ear and focus on the mixing to do it justice. NO (resubmit)

Wow, these sources are pretty out there! Awesome job on converting them into a metal genre. Those riffs you've interpreted sound great, and I like how it jumps between time signatures throughout the piece. The hard-panned mini-breaks were tastefully done and not overused. MindWanderer does have a point about the arrangement, mind you - there's a lot of repeated material, an ending that's the beginning, and it fades out to finish, as if you ran out of steam. Don't be disheartened though, this is a solid foundation and with some reworking, it'll be even better. There are lots of really cool parts to this - the chunky riffs, the whammy break, and the distorted bass at 3:36 to name a few - but they're diluted by the long runtime. Trim some of the fat, try and come up with a better ending, and I'd love to hear this one again. NO (resubmit)

I love the "4 Producers, 1 Sample" series on Andrew Huang's YT channel, where they do stuff like this with a single sample and make all sorts of crazy stuff out of it. It's a creative and challenging approach to making a track, although by limiting yourself in such a way, it's hard to say if the track turned out like you imagined it would or not. Maybe that's half the fun of it! I dig some of the synths here, but not others, and that's of course a byproduct of the way they've been created. I think if I didn't know that you'd sampled them all directly from Marin's song on the Game Boy then I'd be less whelmed than I am. The lead at 0:28 isn't particularly pleasant, although the bass is nice and smooth, and the bell and pads work well. Making synths from the same sample naturally gives the same timbral quality to them, so there's a cohesiveness about them, but the original sample has a certain grit to it which lends itself to harsher sounds like those at 0:28 and 1:23. I caught the Terra's theme reference in the middle there, a cool cameo in a Zelda remix! Although I enjoyed the 'making of' video more than the actual song itself, it's definitely worth a feature on the front page. YES

Wow, that pulsing intro note instantly takes me back to booting up HL1 (and 2) and seeing the man with the Valve in his eye. The atmosphere here is absolutely dripping in flavour, and I can't make out that speech over the crackly PA system, but I can imagine it's welcoming us to City 17: A Safe City! Guitar is chunky, bass has huge presence without being overpowering, and drums are mixed cleanly. Great job on picking out the identifiable riffs and elements from the sources and fleshing them out into a track that is unmistakably Half-Life. One small nitpick I have is that there's some unwanted distortion artifacts (clipping) at 2:47-2:48, just before the solo. It's clipping elsewhere according to Audacity, but that was the only place I could clearly hear it. Nice work on this one both of you - thanks for submitting! Hope to hear more in future. YES

I love the idea of remixing this source into a Western style. It fits really well! I like your approach to the storytelling as well - having 3 sections for the walk/trot/gallop is an interesting way to spin it. That intro kinda reminds me of the Borderlands 2 intro, a song 'Short Change Hero' by The Heavy. However... The major drawback of using such a sparse approach to the first section is that your 'lone cowboy' has to grab (and keep) all our attention with his guitar, and the samples just aren't close to cutting it as it stands. Added to that, it's a minute and a half before any accompaniment comes in, so that guitar has to be flawless. I'd suggest getting either better samples, or ideally a collaborator if you were thinking about reworking this one. Chimpazilla makes a good point that you could use other atmospheric sounds to fill out the space and leave the guitar less exposed. You can still achieve the feeling of loneliness with other instruments/effects, if handled well. Have a listen to the full version of Short Change Hero - the intro is at a slower tempo (same as your track) and evokes a lonely hero walking into a town on a stormy night. Once the other instruments do come in, the atmosphere really starts getting going. The whistling probably adds the most drama, but the other samples again are lacking in quality/attention to detail. The snare sounds particularly exposed, and the choir sounds very unnatural with that portamento effect at the beginning of the notes. For the 'gallop' section, the brass needs a major upgrade, as does the percussion, but there are some moments of drama in the arrangement which I enjoyed. Overall mastering is very quiet, although the instrumentation would need a significant upgrade before any remastering work, if this were to get a pass from me. Some great ideas, but execution isn't there yet. Keep at it! NO

This is a lovely arrangement with real feeling and flow to it. I like how the main arp is present throughout the mix, but with the shifts in backing and accompaniment, the character seems to change. Given that there are 2 distinct sections to the piece, I'd like a more dramatic bridge between the two. The transition at 1:51-1:55 was lacking in impact, and the drumkit in the second section seems like it's the wrong choice. It sounds a bit too splashy for the drama and intensity that's being striven for. Something a little tighter, with more punch and low-mid presence might suit the piece better. The vocals are great, though, and really well handled. Definitely adds that cinematic touch and emotion that this piece brings. The previous critiques are mostly nitpicks, but there's one major thing that holds this back for me, and that's the clipping. From the submission guidelines: 1. Submissions should be cleanly and clearly produced. Recordings should be reasonably free of distortion, hum, clicks, pops, or other unintentional audio artifacts. Now, I can live with one or two instances of clipping, but I counted well over 10 seconds' worth of distortion caused by clipping at 2:38-2:42, 3:01-3:04, 3:40, 3:42-3:45. It was really noticeable on first listen, and looking at it in Audacity it's not pretty either: Looks like the other judges have mentioned it already, but it's those transition effects that are the culprits. Fix the clipping on those and we're all gravy. NO (resubmit) Edit 12/09/22: I'm good with the new mixdown. Fixes the clipping, and my other suggestions were only nitpicks. Percussion could be cleaner, although I think the extra attention to the backing effects has brought the drums out a bit better. Vocals still sound superb, both lead and the whispery backing ones. YES

Man, I used to listen to this kind of stuff all the time. Call me an old fart, but that compression is just way OTT for me now (probably the plugin you used to get the sound as well, hah). That said, it is a staple of the genre, and so ignoring the insane loudness of the track, there's a lot to like. Cool synth choices, some nice effects sprinkled into the offbeats, and a nice break at 1:18. Even the break is super loud though, and as ever, the dynamics suffer when compressing the sound like this, so the breaks don't provide the level of respite one would expect. I'm glad this remix wasn't any longer, because at my normal listening volume it was starting to get uncomfortable. The lack of a significant difference in the final chorus is disappointing, but that's partly due to backing yourself into a corner with how loud and busy the track is already. I guess anything else would be too much. Lessening the intensity of the first chorus might be the way to go, but I understand that's not what this remix is about, so I respect the decision to keep the energy levels high for a short duration. The popping Larry pointed out sounds like the sidechain is working really hard at the start of the bars to stop any sound coming through, and the master compression is trying to amp up the tiny amount of sound that is leaking in at that point, resulting in a pop. Might be worth checking to see if that is the cause (another reason not to bump the compressor gain too high), but it wasn't a dealbreaker for me. It's a YES based on the genre, but my ears wish the whole thing was less compressed. YES Ninja edit for title suggestion... "Earache"?

What a fantastic idea for a track! The intro is really atmospheric and drew me in immediately. I've no complaints on the style or the arrangement, but once things get busy with the drums and low strings, that sub bass is impossible to ignore. I can hear the bass entering at 1:18, and then it leaves again at 1:51. For those 33 seconds, it's entirely imbalanced in the mix (also 2:13-2:30, 3:54-4:24). The energy of the sub-bass is causing any compressors you have on the master to max out, which in turn is causing the frequency imbalance. The melody in this section should be the most prominent thing, but all I can hear is a rumble and a faint flute in the distance, as if someone's playing it on the other side of a busy road as trucks rumble past. It's possibly due to your mixing setup - perhaps your headphones don't reach those sub frequencies so you can't hear it - but I'd suggest playing this mix on as many systems as you can, so that you can hear the imbalance for yourself. Not being able to hear this sub frequency noise may also cause you to crank up your compressors to try and make the rest sound louder, but that only exacerbates the problem. Chimpazilla has some great suggestions for how to sort some of this out. You should definitely be rolling off the low end using a low-cut filter on any instruments you don't need there. Also, use EQ visualisers to make sure nothing is getting through, just in case there's some sub frequencies you can't hear on your setup. I also agree on the brass attack being too long, which dampens the impact of the melody, particularly in the climax at the end. Unfortunately I'm falling on the NO side for this one, but I really hope to hear this cleaned up and with some more bombast in the brass next time around. It's a cracking source tune, and a brilliant reimagining of it that you've created, however the production is holding it back for now. NO (resubmit)

Definitely a fitting genre for battle music! The energy is super high, definitely feels light in the bass, but there's a lot going on, so perhaps more bass would make it too busy. Chimpazilla's right on the money with the punk feel, particularly with the guitar tones. It's got that young, raw timbre to it that punk has - but also some flute and synth, so who knows what specific sub-genre this one falls into! I like the acoustic breaks, and the flute is handled really well, although there's definitely some strange timing in that section. I think the snare being so close to the beat in that particular swing pattern makes it sound slightly odd, but when things tighten up again afterwards, it gets back on track. Listening back to that flute section, I'd say it's an interesting compositional decision, and although it might sound odd on the first couple of listens, it's not a big enough deal that I'd say it warrants fixing. I enjoyed the use of that simple saw synth as a complement to the lead guitar. There's some attention paid to the pitchbends and vibrato, to stop the synth sounding too static, and the interplay between the synth and the guitar after the solo was really nice. Arrangement wise I liked it a lot - source usage was easily apparent, and the structure didn't feel repetitive at all. Energetic synth-flute-punk-metal? It's a yes from me! YES

Very cool idea to take an energetic battle theme and chill it right out. Great job on that! It does feel unfinished though, both from an arrangement and production perspective. The clipping sound is a big issue that needs addressing - have you added some sort of distortion or bitcrushing to the piano/sax? Or is it just clipping I'm hearing? Either way, Lofi stuff should have a nice, warm, vinyl-like crackle to it. Try experimenting with some other production methods to achieve that warmth, and avoid pushing the levels of your instruments too hard in the process. Lofi mixes should also sound clean and intentional, too - here's a great example of a benchmark track I like to use when listening to Lofi: Notice how the background crackle doesn't detract from the clarity of the instrumentation. Arrangement-wise, I'm not sold on that intro at all. The first 10 seconds could be cut, or certainly reworked to sound less dry. The café ambiance that comes in halfway through seems like an odd place to introduce such an effect. You could definitely use that in the intro to set the scene, and call back to it in the middle and end as a break and outro. Definitely a lot of good ideas here, keep working on the execution! NO

What a joy! Everything about this had me smiling, from the title, through the saccharine intro, the psytrance middle section, and out the other side again. No problems with the intro synth - it reminds me of Benny Benassi's 'Satisfaction'. Proper twisted saws there. The compression is almost comically high, although definitely intentional, and just serves to highlight what an absolutely in-your-face track this is. It's a bold move, as pushing the limits so hard means your sound design and production has nowhere to hide, but fortunately everything is on point here. The drop at 2:26 is pure filth. The beat switch at 3:17 is madness. It's hard to pick a favourite part of this - there are so many cherries on the top of this ReMix, you'll be chasing them around for many listens to come. YES

This is a real tough one for me, because I love it for 2 minutes, and then the repetitiveness starts nagging at me, and I want something more. Genre-wise, I'm reminded of mid-90s electronica such as Chemical Brothers or Propellerheads. Those bands have plenty of similar-length tracks, however even with the longer tracks, the progression is clearer and the variation more engaging than simply adding and subtracting elements that have been heard before. To be clear, I have absolutely no problems with anything production wise - it's the arrangement that pulls this one down in my book. I dived a little deeper with some timestamping and colour-coding on repeated segments(!): I made it 83 seconds of repeated material - although not exactly verbatim, as there were some subtle backing/fill differences. That said, the differences were not unique to that particular section, so I treated it as a repeat. That works out to about 23% of the track. I took a 7-minute long track from the Propellerheads to compare the repetition there. Spybreak! was famously used in the Matrix's 'Lobby' scene. I clocked 2:15 of repeated material, or roughly one third of the track, in the original. The Propellerheads also released a short version which trimmed almost 3 minutes off, and honestly you don't miss it. 23% repetition is pretty borderline for my taste, however it does feel like a lot more is repeated, because a lot of the same segments are used in different permutations. I really liked the vocal chopping around 4:04-4:17, as it brought something new to the table. The final minute or so was a bit anticlimactic, as nothing new was added. I'd say take a leaf out of the Propellerheads' book on this one. Either trim a couple of minutes out of it, or rework it to add some more unique parts. I'm a huge fan of this genre, and I really do appreciate the fantastic work you've done here already. I'd love to hear this one back again with a tighter focus, and an arrangement that leaves me wanting to hit the repeat button! NO (resubmit)

Those vocals caught me off guard! They could definitely be manipulated better, and that intake of breath at 1:38 is an odd way to introduce them. Although the execution wasn't great, it does add an extra point of interest to the piece, and puts me in mind of a track like Alone in Kyoto by Air. I'm pretty sure the processing on them is intentional, and I think expanding on that vocal idea and mixing them better could have been something extra special here. Perhaps something to experiment with in future. Aside from that, it's a very pleasant journey through the themes. They sound like one cohesive piece together, although I'm finding myself agreeing with proph that I'd like some more obvious dynamics to it. I see it's taken from a larger piece though, so perhaps that explains it. The sustain on the final note almost outstays its welcome, which I think I noticed in one of your previous submissions - obviously a stylistic choice there! Nothing too flashy on show here, but an enjoyable journey nonetheless. YES

Trap beat intro, leading into some saw plucks at 0:35, sets the scene nicely. Percussion balance sounds slightly right-biased, and the fast rolls could do with being cleaner. The lead at 0:52 is sublime. Sounds like 2 oscillators running a saw and a narrow pulse at the same time, with some layering, reverb, and delicious delay. Great sound design on that. I love the boldness to go for such a dominant lead, although it does overpower some of the percussion. After the lead melody line, there’s some really nice automation work on the following plucked synth. You’re pushing the resonance until it distorts, then reining it back in, which is a cool trick. I’ll have to try that myself! 1:43-2:00 it’s a break with the trap beat and a new bell pluck, 2:00-2:17 more bell pluck and layered bass, leading into a break which reprises the plucked synth and pattern from the intro. I like that you cut out the trap beat here, as it was starting to get noticeably repetitive. When it comes back in at 2:52, it’s a shame there isn’t more variation, and then 3:25-4:17 is essentially copy-pasted from earlier. I can see why this has split the vote. The atmosphere and sound design is very good, but what lets it down is the arrangement. You’ve got a fantastic lead sound, with some really nice pitchbending, but the entire section has been copy-pasted, so even the pitchbends are the same (and listening to the source, they are evident there too - second time around, try adding something more original to the lead line). The trap percussion could be mixed better, but I’m willing to overlook some minor flaws there. The repetition though is harder to look past. If you’re going to copy and paste sections, there has to be a point of difference to hold the listener’s interest. You had me rapt for 2 minutes, but then by the end, I felt like it was starting to drag on. I’m so torn on my own vote here, because there is a lot that I love about this track. The repetition though is ultimately a dealbreaker for me. I’d like to hear more variation in the second half of the piece. I really hope you revisit this one and put more of your own stamp on it - it’s almost there! NO (resubmit)

Lovely warm, fuzzy synths. A little generic, but definitely vaporwavey. Brass-style lead in particular isn’t too interesting from a sound design perspective, however the overall soundscape is cohesive. The snare at 2:07 has too much reverb, so it softens the punch. Some of the toms seem to be too wet on the reverb as well, but it's not a dealbreaker. Really like the ABA arrangement going from 6/8 to 4/4 across A sections. I was thinking that the melody was too fast for the style you were going for, but then in the final section it’s repeated in 4/4, which gives it a much slower, laid-back feel. I can see why this might not stand up to more commercial examples of the genre, particularly from a sound design and production perspective, however I think what’s here is delightfully creative, and cohesive enough to get a pass from me. YES

What a difference another pass can make! I have a lot of respect for artists who wait for a long time and receive a NO (resub) vote, but then take the comments on board, learn from the experience, and come back stronger. Pretty much every criticism I had the first time round has been addressed, and there are some superb flourishes that have been added. The percussion is much more alive now, and there's a cool triplet section at 1:25 that wasn't in the original. Production is clean and cohesive, if a little quiet, but it's simply a joy to listen to. Awesome job, both of you! I'm not sold on the intro, as it feels a little out of place with the rest of the track, but it gives me great pleasure to say YES

Great energy in this one. My favourite part is the solo from 1:35-1:58, but the underlying mixing problems are holding this one back. So much is crammed into the mids that it's very difficult to pick out individual elements. 1:59-2:22 is better, as there are less instruments fighting for space - maybe pare back some of the backing so that the rest of the track is a bit more like this section, or use some of the tricks proph has suggested to give each component its own place in the mix. Arrangement wise, there's not a great deal of original material relative to the length of the track, but what there is (particularly 1:35-1:58) is excellent. More of that please! Really good effort for a first attempt. If you do decide to revisit this, don't be afraid to cut out some elements, or be quite drastic with EQ. Listen with a critical ear to existing music in the same genre, compare it to yours, and tweak your mix until it sounds as close as you can get it. There's a lot of potential here, but for now it's a NO

I gave this one listen and it instantly evoked images and fragments of my own dreams and occasional inception-like dreams-within-dreams. I absolutely adore the execution of this. It's incredibly abstract, but the way the melody hangs like a thread through the middle of the piece, guiding us on the journey, is superb. The first deep vocal chop at 0:49 is like that moment when you're falling asleep and suddenly lose balance, even though you're lying down. Or that moment in Fight Club where Tyler Durden is splicing a couple of frames of explicit material into children's movies, making you think "did I just hear that? Was that a dream?" It's followed up with a rapid crescendo, like a deep breath after being startled. The heavy reverb sounds delicious, helping us float off, and then the chops start coming in, shifting the entire soundscape in an instant. It's a clever technique very reminiscent of dreams, in that you can instantly be somewhere else from moment to moment. The chops do get a bit 'poppy' round 1:51, although I appreciate that's both a stylistic choice, and par for the course when slicing samples so aggressively. I'd also say that the clean vocal at 2:43 sounded a bit out of place, although in my mind I was picturing someone finding an old camcorder in a run-down house, and playing the video. Very fitting of a Resident Evil/survival horror trope. Definitely not for everyone, but for those who connect with it, it's a fantastic piece of work. YES

Attempting to remix sparse, atmospheric sources is always a challenge, because there's no room to hide. When there are only 2 or 3 sounds working together at once, it's very easy to expose flaws. For the most part, I enjoyed the instrumentation and effects, however a couple of instruments really stood out like sore thumbs. The piano and clarinet both could use more TLC in getting them to sit right in the mix - and as proph mentioned, the attack difference between the clarinet and bassoon doesn't do the layering any favours. I'm not against ambient/minimal remixes such as this, but I have to say I found the arrangement very uninspiring. Ideas from the source are introduced in the same order, and although there are some hints of expansion, nothing really piqued my interest or excited me. This remix seems to lack a philosophy - that is to say, it's neither fully atmospheric and immersive, nor does it have sufficient arrangement expression to add intrigue and replayability. NO

So much potential in this one, but you've gotta bring that guitarist in from the other room! The first minute and 20 seconds of this sound great, but I think you've possibly fallen into a trap with your reverb. The airy, ethereal atmosphere in the beginning is all well and good, but once things pick up after the build at 1:25, there needs to be more focus on the core instruments. It's a good idea to use similar reverb on instruments to give them a cohesion, however you've got to recognise when to dial back the wetness knob. The vocal pad sounds too prominent (particularly around 2:40), the drums too splashy with no bass in the kick, and that poor guitarist is jamming away in the other room. The drum fill at 1:25 also didn't sound very natural and broke the flow at that point, rather than seamlessly introducing itself. The transition at 2:22 needs more attention to mixing balance as well. Emunator has provided some excellent feedback on how to remedy these issues - his style makes great use of atmosphere and space, so I would suggest giving some of his stuff a listen, and taking that advice on board. The bulk of the work I would say is done, it just boils down to some mixing adjustments, and if you want to revisit some of the drum samples and fills, that wouldn't go amiss either. Hope to hear this one again! NO (resubmit)

On first listen, you’d be forgiven for thinking that this track starts at 1:25, with that beautiful piano rendition of the melody from "A Broken World". That was the point at which I really sat up and took notice. However, on repeat listens, there’s a lot of detail and, I would say, confidence in this arrangement. I definitely hear the Ghibli/Hisaishi influence here. To attempt a “soundtrack” style orchestral ReMix using pieces from many FF7 sources shows great depth of knowledge of the game, and a strong emotional connection, which shines through the piece. I’m sure fans of the series will love this immediately, although for a listener who has never played FF7, I would say that it took me a few listens to appreciate everything you were trying to do here. It definitely requires more concentration to listen to than most of the music I listen to regularly, but that’s no bad thing. There are moments of magic, such as 1:25, and the orchestration is beautifully done. Not my usual cup of tea, but definitely worthy of the front page. YES

Your previous remixes had the synthwave sound palette nailed down, and this is no exception. The simple-yet-sumptuous lead synth comes in with the melody at 0:16, displaying some nice pitchbends and subtle vibrato on sustained notes. The backing is solid, with plucky arps, a warm fuzzy bass, and my favourite part is that faux-flute appearing at 0:08 and elsewhere throughout the track. Delicious reverb and delay on that. Percussion is solid, although I found the tambourine had too much reverb for my taste, as it felt like it was sitting too far behind the mix. It’s panned hard left as well, which adds to the spacial disparity with the rest of the mix. There’s a production error in there at 1:16 which is a shame, because I really like how you've tried to create a transition using a sidechain on long-feedback reverb. Unfortunately, something from the hit at 1:11 is reverberating too much and causing a bitcrushing artefact in the mix. It’s making a crunching sound which is quiet, although noticeable. The transition out of the half-tempo section was handled well, and I enjoyed how the solo resolved just before kicking back into the main groove. It finishes with an unremarkable ending, but nonetheless a hugely enjoyable track. Homage to the original, followed by personal expansion, ending with a recap of the source. To any aspiring ReMixers out there: take notes. Arrangement-wise, this is a great blueprint for OCReMix, and I always love hearing Neon X take on a source in his signature style. YES