Chimpazilla

The piano playing does sound disjointed to me too, a little behind the beat here and there. I hear this especially between 0:32-0:45, right before the synth lead begins. The drums are weak, quiet and fairly repetitive other than a few fills here and there. The bass is in there somewhere but wow it's quietly mixed. When the synth lead enters, it is a very simple, vanilla sound. This lead is quite loud and it is panned very widely, and it competes with the piano in the stereo field, rather than the synth being panned more centered in the soundscape. To my ears, the piano and synth are playing on top of each other rather than the lead having its own space in the mix. When the guitar comes in, it sounds super quiet and almost entirely mono to me. I would expect a backing guitar to be a wider sound than the lead. Everything playing has too much lows, giving the mix a muddy feel. The piano and lead both have so much in the low end that I can barely hear the bass playing. The mixing and stereo-field placement of instruments make the track feel odd to me, as if each element were playing in its own separate universe, not really gelling with the other instruments. I do like the changed groove of this arrangement from the original, this beat is much more mellow and groovy than the march pattern in the source tune. The energy of the remix arrangement however doesn't evolve or change too much once established, giving it a repetitive feel despite new elements entering as it moves along. I think this is a good start but the mixing and stereo placement just feel too strange to me, the arrangement is repetitive, and the instruments are mostly on autopilot all the way through other than the synth lead which noodles along over it. NO

I have no problem hearing the source connections in this mix. The mixing though is very flat and lifeless. The vocal chants sound dry and they are sitting on top of the soundscape instead of living within it. I do love the idea of this arrangement, but I have to agree that the soundscape palette sounds the same throughout and as MW said I've lost interest at the two-minute mark. Some of the elements sound very rigid, for example the plucked string that begins at 2:35. It is rigidly timed as well as mostly hidden within the soundscape. The track requires a mixing overhaul with EQ to bring each element into it's own place in the soundscape, and also a drumless breakdown would be nice to break up the repetitive energy level. The drum pattern remains mostly unchanged once it begins, and it eventually becomes fatiguing. Dropping out a few elements and adding new and surprising ones would also help break up the feel of this. NO

This mix sounds surprisingly good for having been made on a phone, I wouldn't have thought that was possible. The arrangement is short yet effective. But ultimately I agree with my fellow judges on every point they made. The production just sounds a bit too rough. The elements need a good EQ treatment to remove lows from everything that isn't kick or bass. Some sidechaining of all the elements in varying amounts would clear up the soundscape quite a bit and get the arrangement grooving a bit better, reduce the load on your master limiter, and the drums will punch through better. You've done a lot with some very vanilla sounds. The track overall is mastered very loud and SPAN shows me it is clipping like crazy. I attribute this primarily to less than optimal EQ treatment throughout the track, this is a very common issue. If you're this talented on a phone app, you're gonna be crushing it with a DAW. Get yourself a DAW and do this (with this theme or another one) again, and please let us hear it! NO

The orchestra here is very full and layered in unique and interesting ways. I do love the switch to 3/4. Some of the writing, especially lead writing sounds a bit stiff (mostly where strings are playing lead) but overall the instrumental execution is terrific. The brass sounds especially good to me. Arrangement stays fresh as it moves along. Many lovely interpretations of the source theme. It's a luscious waltz. YES

This is an eclectic mix of sounds if ever there was one. I love it, everything gels together amazingly and the arrangement moves along like a spooky adventure story. So many changeups here, rhythmically, energetically and instrumentally, all while sounding cohesive. Mixing and mastering are on point. Loaded with ear-candy. The leadwork near the end, with the string backing, is utterly epic (I wish that part was longer). I'm giving this two snaps, a twist, and a triple YES YES YES

I haven't heard the original submission, but I like the soundscape here, very grungy dystopian. The chug guitars and drums sound very good although they are too repetitive; there are very few drum-pattern changeups. The arrangement is very repetitive; the energy level is the same throughout the majority of the track. At 0:35, what is that sound playing lead? It is definitely not a lead sound, and probably would work better as a layer or backing element. If it is a guitar, it has been distorted and fuzzified way too much. At 0:53 the lead works a little better but still sounds odd to me. At 1:10 that non-lead sound returns and doesn't work at all. Generally, the leads in this track are too fuzzy and diffuse to work as leads, so the track sounds essentially leadless, which hurts the arrangement in terms of repetition. I think what is here could potentially work, if some proper leads were applied to each section, with writing variation and perhaps a solo in one section, but what's here now is just too loopy and repetitive. Also, the ending is quite abrupt and the final sfx is cut off before it finishes. NO

Cool, groovy synthwave track here, that's got me tapping my feet and chair dancing. The glitching is in fact a speed bump instead of a driving factor, it comes off as sounding like a rendering error rather than a cool effect, but luckily the glitches are brief. Fadeout ending, I agree "boo to fadeouts" and in this case it seems that at 2:35 the ideas ran dry and you just let the backing track roll until the fadeout. Another complaint is that I wish the lead timbre would change to something more unique for a section or two; the leads used here are rather vanilla and sound basically the same throughout the mix. Otherwise, track is groovus maximus. I love the speed changeups, good sidechaining, serviceable mixing (I'd prefer just a touch more lows but what's here works). I love the Dracula laughing sfx. Overall, I'm a little more borderline than the other Js, but to quote Liontamer, "on the seesaw of what works vs. what doesn't, more of it works than doesn't." (Ok so that was more of a paraphrase than direct quote!) It's an enjoyable listen. YES (semi-borderline)

You've changed the harmonies here. I'm not well-enough versed in music theory to comment on it, but wow it feels dark, and not necessarily in a good way. The way that piano sounds, it could almost fit in a season-one Westworld episode, old-school (sounds like an upright) yet apocalyptic. I think the other Js nailed it, this track just comes off sounding overly sparse, instrument-wise and writing-wise. I like the idea of a "space mix" but just leaving the soundscape bare and depressing doesn't really accomplish that. What about adding a proper bass instrument, and maybe some "spacey" sfx? Sweeps and chimes, beeps and boops, and whooshing effects? The piano and e-piano in the mix have way too many lows, perhaps since they are trying to cover the entire spectrum? To me the mix has a muddy low end without having a proper low end, if that makes sense. Very interesting idea and a great start, but more is needed to make this a complete arrangement. I'm actually going to batsignal @prophetik musicand have him make some comments about the harmonies, I think that might be helpful. The section between 2:08-2:35 bothers me the most, harmonically. NO

Gonna have to agree with my fellow judges on their comments. The idea for this track is solid, but the lack of variation in sounds is problematic. The 8-bit drums never change other than a few dropouts in the final section. 8-bit is cool but doesn't really compliment the piano and lead sounds you've used, so the drums sound weak and sizzly in the mix. I think it would be a fun idea to extend the intro, maybe with more 8-bit sounds, leading to the drop, but then at the drop replace the drums with something more substantial, and vary the writing a bit, perhaps with a few fills. The pads don't bother me all that much, but the pad feels like it's barely there, like a whisper. Perhaps additional padding here and there could add interest to the mix, something with more texture or movement, or additional backing elements and/or ear candy. As for lead writing, it is very close to the source much of the time, and there are two sections that repeat verbatim. The writing variations you have done are great, but since the entire track has the same lead sound, the writing feels stale by the end. By the time the piano lead shows up, the track is just about over. The ending is super abrupt and the reverb tail is cut off before it finishes. What is here sounds good but has some structural defects to be worked on before it can pass. NO

Batsignaled... ok I'm here! Listening. I LOVE the concept here, omg it's great. Fun beat. The squelchy bits are awesome. I really love all the sounds used, and the glitching is cool. Bassline is solid, I love the pitch drops. The beat does get repetitive after awhile but there are so many unique things going on that it isn't a problem. There is a ton of ear candy and creativity all throughout the track. The arrangement is fairly liberal although I feel like there is plenty of source here, with many variations of the melody line and chord structure. But... the mixing is tanking this. Every element is blasting me at the same volume and in the same frequency. There are so many awesome elements but none of them ever gets to shine, they are all competing. I should be hearing a lead stand out at some point, and growls standing out at other points, but as it stands everything is the same volume. I don't hear any (or enough) sidechaining which is a shame because this arrangement could really be grooving. A track like this without sidechaining has such an awkward feel. I want to bob my head but I feel like the instruments aren't bobbing their heads! The drums should be punching through so hard but most of the time they are buried under the wall of sound. The entire mix also needs EQ treatment, most especially removing lows from anything that isn't kick or bass. When you try to mix and master a track where everything has low-end content, your compressors are going to be working overtime, especially when the kick hits, which leads to an overcompressed too-loud mix. This mix hits -5db RMS at its loudest point which is insanely loud. The mix is fatiguing to listen to. Also, some of the vocal clips, most notably Mario's "hoo" is painfully dry and sticks out of the soundscape uncomfortably. Final gripe is fadeout ending. While not technically an OCR dealbreaker, I am always disappointed by a fadeout when a proper outro to wrap up the ideas and drop the listener off at the curb would be so much better. So to summarize, the track needs a mixing overhaul. Start with rebalancing the volumes so things aren't all playing at equal loudness. Do some EQ work so there are no stray lows playing in any element that doesn't belong down at the bottom. When you do this, don't cut frequency enough to change the character of the sound, just make sure nothing is playing that doesn't need to be. Experiment with some sidechaining. In my mixes I sidechain everything, in varying amounts. This will make the track groove and breathe. Finally, you can make those vocal clips fit in better by lowering their volume and giving them a good amount of reverb. Ping-pong delay is also fun to do with vocal clips for emphasis (just don't do it on every one of them). That all may sound negative but I really dig this arrangement! This is the kind of track I personally love to mix. If you want help with this, I'd be glad to help, just let me know. NO (please resubmit)

Remixer: Chimpazilla Game: Pony Island Name of arrangement: Run Pony Run Source tune: Enter Pony Shameless Self-Panel™ here, but I wanted to get more feedback on this one and also subject all my favorite Js' ears to some foul wubbery. I went through a dubstep phase in 2018 and wrote a few similar tracks but this was the only one that was a proper remix. I never submitted it because I had plans to make a Pony Island remix album; I started a couple of other tracks but computer problems and health problems put a stop to my progress. So, Run Pony Run sat on my SoundCloud gathering dust. I decided it was time for a necromaster and submission. I had never heard of Pony Island until this remix (Diabolus ex Machina) came through our inbox in 2016. I immediately loved the simple 8-bit source tune because it was in an unexpected style (8-bit trap!). My son and I bought Pony Island and played through it that night, and it made a heavy impression on me. The game itself is rather simple but the deceptively-lighthearted story continues to evolve in some very surprising, and very dark, ways. I really, really like this game. (note to self, play through game again) If you have time to kill and don't want to play it yourself (and if you want to laugh) here is Markiplier playing through the game. While I really liked the Adventure Awry source tune used in Diabolus, I found that Enter Pony really resonated with me and seemed to lend itself to a dubstep style. I put in a LOT of time on this remix. All those wubs were crafted, sequenced, processed, rendered, chopped and/or re-processed and rendered again, multiple times. In this file there are renders of renders of renders. Each time I rendered a part out, it freed up my computer for more processing. I was happy with the vibe I created, and I still like it today and I hope others will too (you guys promised me dubstep isn't dead and I trust you on this!). A couple of months after I uploaded this to my Soundcloud, I received a message from Jonah Senzel. He had combed the interwebz for remixes of his OST and found mine among a few others. So he reached out to say hello and thanks, and to ask for my address so he could send me a signed copy of his OST on vinyl. I was very flattered and I still have that album here (although I haven't had a turntable in... God knows how long!). I have done a full source-use timestamp, if anyone wants to see it please ask, but the remix is 81% source. Generally, there are source motifs playing in various combinations throughout the track with the exception of the wub-only sections after the breakdown and even those are interspersed with snippets of source motifs. I hope you all dig this!

I do love the early 90s feel added to this arrangement, the brass hits and scratching fit the vibe perfectly. Other than this though, as my fellow Js have stated, you did too good a job recreating the track almost entirely. The arrangement is much too conservative for OCR standards, although the production is very good (mastering could be louder). I would actually love to hear this again, remade into a proper remix with some writing variation, instrumentation variation, drum pattern variation, arrangement variation (a short original B section, a proper drumless breakdown, drop the vocals at some point and introduce leadwork, short solos, etc.), maybe do some glitch work on those vocals for a few bars, add some ear candy here and there, proper ending instead of fadeout. There are so many fun things that could be done to set this apart from the original and have a very enjoyable remix! NO

Gotta agree with MW that this sounds like a very old remix, I'll use the dreaded word "dated" here. That said, I think it's not that far from becoming "nostalgic" rather than "dated" with some mixing improvements. The main things I hear are volume imbalances and lack of sidechaining. Some instruments are excessively loud. The intro organ is quite loud. When the first lead hits at 0:27 it is so much louder than the rest of the soundscape that it is quite distracting. It doesn't help that the sound used is very static and unchanging (no filter movement or any effects of interest). The drums generally sound very weak and tame; the snare has no bulk to it, it's all sizzle, same with hats. If a drum sound isn't working for you and you've applied a billion fixes to it (as I see that you did from your writeup), time to replace it with something that works. Maybe go through Splice.com, they always have up-to-date samples of everything. The lead at 1:38 also comes in startlingly loud compared to the backing. I can't hear any bass at all in this mix. You've got some lovely arpeggios that are getting clobbered by the loud leads. So yeah, the mix needs a rebalance. I think the kick might actually be ok but it comes across as weak, I think due to the next thing I'll talk about which is sidechaining. But first, I recommend applying EQ to every element in this mix, cutting unnecessary lows out of everything that isn't kick or bass. Example: pads don't need to be heard lower than 100-ish Hz generally, same with plucks, other backing elements and most leads, you can cut the lows out of these elements allowing kick and bass to be the only elements playing in the lowest ranges. Hat loops and high-end elements can take even stronger EQing-out of lows. You'd be surprised how many useless lows and inaudible rumble are in elements in a mix, stealing mastering headroom. Apply the EQ gently enough not to change the character of the sound, just to cut out useless rumble and inaudible lows. You'll be amazed at how much this simple trick cleans up your soundscape, and your mastering compressor will thank you. NOW for the sidechaining. Sidechaining can be used to clean up a mix when applied gently, and of course it can be used for an effect when applied heavily. In this mix I think both methods can be used. If this were my mix, I'd sidechain your kick to your bass fairly heavily (8-10db of gain reduction) but with a quick release, heavy enough to hear it almost pumping if you solo kick and bass. Then I'd sidechain the pads similarly but less gain reduction than bass (more like 6db GR), not quite enough to hear the pumping but enough that the kick punches through when it hits. Then, sidechain the other elements including your leads. Yes, you can sidechain leads! It will add some groove to the arrangement and also clean up the mixing, provided it is applied gently enough (low ratio, very quick release, and high enough threshold that you can't hear pumping at all in the mix, only about 3db of gain reduction). When everything is sidechained purposefully, gently, in varying amounts, sanely... the mix will come to life. I know that was a wall of text but I see that you're trying hard to learn this and I remember being in that position myself and how hard I worked at it. Please keep going! (If not on this remix, maybe on something new, using what you've learned.) This is a cute arrangement and I think it will work with better mixing. NO (resubmit)

Hard disagree with DarkSim that the remix must sound better than the original. If that were true, no one would remix anything from certain games! If I had a dime for every remix I've heard that was not as good as the source, well I'd have a shitload of dimes! Yet, those remixes are still great in their own ways. I think as long as the mix sounds good on it's own and is produced well with enough variation, that gets it done for OCR's standards. In Rebecca's case she often melds multiple sources into a cohesive arrangement that tells a new story, as she has done here. Sometimes her instruments lack realism which can kill the mix, but in this track what I hear is real enough and mixed well enough not to stick out extensively as fake, although I do agree with MW about the overuse of tremolo, it's unnatural, but it does fit the vibe of this particular arrangement. I also agree with DS that the tremolo cutoffs are way too abrupt, oof. As usual, the mastering is non-existent and I honestly fail to understand why this has not been improved since we all mention it on every submission. Please reach out for assistance Rebecca, any one of us would surely be glad to help you master or learn to master your lovely arrangements! All that said, this mix transports me to that special "Rebecca Magic Place" and I think others will be transported there too. YES

Oh man, sorry about your arm, so glad you are regaining function! Are these vocals allowed? They sound straight out of the source. Wow this is a busy mix, and loud. The master hits -7.3db RMS at its loudest which is hardcore EDM range. It's a sausage waveform and a wall of sound. This is a long arrangement, considering the energy level hits 10 immediately and stays there throughout the piece, and the soundscape stays roughly the same with a few additions and variations. There are several sections repeated nearly verbatim (0:44-1:05, 1:48-2:09, 3:08-3:29 and 4:22-4:44 are identical except for the vocals and beep loop added in the third and fourth iterations), making the track sound and feel repetitive. I do love the soloing and I think this could be a good arrangement but it just feels too long to me due to the repeated sections and nonstop balls-to-the-wall energy level. The mixing is so busy as to be fatiguing, with so many elements competing for space in the mids, and the mix lacks high-end sparkle although the crashes end up being too loud (MW covered this well with his comments), and the mastering is too heavy/hot. It's a fun vibe and well performed, but the arrangement feels too long and repetitive and the mixing needs to somehow be cleaner and less fatiguing. NO (resubmit)

OMFG THAT SUB BASS...... the production here is so over the top good that my jaw is hanging open. This may be lost on anyone without an actual sub, and on a phone speaker it may not translate at all, ugh... but on my Presonus Sceptre 8s and my subwoofer... this is the best sub bass I've ever heard. Thanks Wes for the source check, 59% is enough for sure. As for repetition of how the source is played, Wes is right. The entire track consists of several elements written as loops and layered together in various ways to create an arrangement. It does make for a repetitive-sounding arrangement overall. If I click through the track, I hear that mostly the elements are layered differently; I don't hear any sections that are 100% copy pasta, but yeah it's repetitive. This is gonna be a close call, but I'm going to vote on the side of it being enough variation to pass. If others feel as Wes does that this repetition is too egregious, I will change my vote, but for now, I'm going with YES (borderline)

What a weird source tune! I like the remix arrangement in terms of covering this source in a unique way. However, I am in agreement almost entirely with prophetik on the instrumentation and mixing. The lead does sound quite loud and the bass has very little presence. The drums sound so flat, distant and thin. The track could benefit from some surgical EQ to remove lows from every element that isn't kick or bass, at a very minimum. The drums sound overcompressed and sizzly as well as distant. I don't hear or feel any sidechaining; some gentle sidechaining of almost everything here in varying amounts would help the track to breathe as well as provide some groove. (Sidechaining done gently will improve your mixing without making it sound pumpy unless you're going for pumpy) Also, a track of this nature should not come in at -2.8db peak; the master is too quiet. I'm pretty borderline on this because it's a cool remix, I just think it needs a little more mixing and mastering love first. NO (borderline, resubmit please)

I gravitated to this track since I recently remixed Lavender Town myself. I love that theme, with its childlike dark vibe. I haven't heard of "atmospheric black metal" before but that seems to be an appropriate way to remix this tune. This mix accomplishes the atmospheric goal quite well I think. The arrangement goes on a bit long for my liking, feeling quite repetitive by the end, but I can see this track filling out the soundtrack for a long scene in an apocalyptic movie. The track is mixed well enough I think, although it ends up sounding mostly leadless (where there are definite leads, they are buried in the mixing, but it seems that the goal here is not to have leads generally, and where they exist they sort of come and go in the soundscape). There certainly is enough Lavender Town source here. I love the variations on melody and chord structure throughout the arrangement. I'm glad there's a short breakdown to change up the dynamics briefly. The guitar and drum performances are excellent and the section following the breakdown really slaps. The mixing is slightly flat but it's getting the job done. Ugh, fadeout ending, I prefer a real ending to wrap up all the musical thoughts, although the fadeout is not a dealbreaker. If I had one request for this track it would be more and more-prominent leadwork. I'll be interested to see what others have to say on this track, but for me it's a YES

Very cute and creative arrangement of so many themes. It does make a nice little ballad. I agree with MW that the opening bell timbre is overbearing, it has infinite sustain as well as infinite reverb and it is mixed in a way that some uncomfortable low-mids and mid-lows are emphasized along with a very piercy tone at 400-450Hz. That tone seems to sustain throughout the entire track! Perhaps that can be replaced with some other kind of sound that's less piercy? The bell is nice, but it really muds together in a way I'm not sure is working. I don't think this is all that far from a pass, but I agree some mixing fixes are needed. The drums could use some more impact along with taming those low-mids and replacing the sustaining 400Hz sound. The bass could be a bit louder, not too much though. A proper ending would really be nice too, as this just drops off. Other than that this is good to go for me, very cute. NO (resubmit)

How did this one get pushed down so far in the queue with three YESses on it? I agree with my fellow judges that this is a lovely interpretive piece, beautiful part writing and instrumentation. Humanization while not perfect is good enough and gets the job done. Mastering as always is on the quiet side. Still, YES

It always throws me off when a remix is in another key from the original, no matter what else has been done to a source tune. I hear a lot of source in this one but it probably warrants an actual source use breakdown. Given enough source, this is an easy pass for me too.

If this passes, it will need an original title. Remixer sent two tracks in one email. I'm not sure which one he intended to name "Heavier Carnage" so I'm leaving both titles as the source song names. Hello, I would like to send two cover songs from Spider-man's Maximum Carnage for your evaluation. Thank you very much -- ReMixer name: Rekkinom real name: Fabio de Moraes Ruela email address: website: userid number: 37928 Name of game(s) arranged: Spider-man & Venom - Maximum Carnage Name of arrangement: Heavier Carnage Name of individual song(s) arranged: (Story Interlude - separate thread), Heated Battle Additional information about the game: SNES, composers: Alistair Brimble and Chris Jojo Comments: I loved this soundtrack since the first time I played the game in the 90's. In 2009 I uploaded a video to youtube playing 4 songs from the soundtrack and it had good acceptance from the gaming community at the time. On December 2021 I decided to record a brand new version of the soundtrack, and selected these two songs to send you for evaluation.

Remixer sent two tracks in one email. I'm not sure which one he intended to name "Heavier Carnage" so I'm leaving both titles as the source song names. -Chimpazilla Hello, I would like to send two cover songs from Spider-man's Maximum Carnage for your evaluation. Thank you very much -- ReMixer name: Rekkinom real name: Fabio de Moraes Ruela email address: website: www.rekkinom.com userid number: 37928 Name of game(s) arranged: Spider-man & Venom - Maximum Carnage Name of arrangement: Heavier Carnage Name of individual song(s) arranged: Story Interlude, (Heated Battle - separate thread) Additional information about the game: SNES, composers: Alistair Brimble and Chris Jojo Comments: I loved this soundtrack since the first time I played the game in the 90's. In 2009 I uploaded a video to youtube playing 4 songs from the soundtrack and it had good acceptance from the gaming community at the time. On December 2021 I decided to record a brand new version of the soundtrack, and selected these two songs to send you for evaluation.

Remixer name: Bluelighter Real Name: Guillaume SAUMANDE Mail: ID forum: 21840 Game & Songs: Final Fantasy VIII & Fear ; Unrest Composer: Nobuo Uematsu Project : Final Fantasy VIII : Seeds of Pandora Hi OCR! Here is a piano arrangement of « Fear » and « Unrest ». These tracks well marry together IMO, by their melody or by their sinister atmosphere. This arrangement sounds a little jazzy with disturbing dissonances. Notably at the 2nd play of Fear at 1’53 where I’ve taken some liberties on harmony. Soft parts (notably intro and outro) also contribute to the worrying atmosphere that I wanted in the arrangement. Enjoy ! BREAKDOWN 0’00 : intro (fear harmony) 0’47 : unrest (26' -> 41') 1’02 : fear theme presentation 1’53 : fear harmony variations 2’20 : unrest (0' -> 25') 2'35 : unrest (26' -> 41') 3’11 : fear, outro (light sounds)

Contact Information Remixer Username: Audio Mocha Real Name: Daniel Florez Preferred E-mail: User ID: 33297 Name of games arranged: House Of The Dead: Overkill Name of arrangement: The Good, The Sweet, And The Sour Name of individual songs: Dim Sum For Papa Source materials: https://soundcloud.com/pitstop-productions/house-of-the-dead-overkill-003 Comments: When Dwelling of Duels announced that October 2021's theme would be Wii games, I immediately knew that I had to make something. The Wii is easily the most influential console in my life since it was the first one that I was really around for its release, its controller made shooting and sword-wielding games a lot funner, and because I was exposed to a very large amount of its library. Most people only tend to remember the first party titles on the console so when I saw the theme, I knew I wanted to go with something a bit more left-field. I then realized that Overkill was the perfect choice, considering the number of times I've beaten it and how much the music fits my style. I initially started off just making a pretty straight cover and kind of arranging as I recorded guitar but over the week I was working on it, I just kept getting ideas and eventually settled on a more spaghetti western surf feel after I played a part on trumpet and realized I could actually pull it off since it was right in my range in the time of recording. I'm especially proud of this one since it's the first time I've included live recordings of me on the trumpet completely solo and with minimal processing as well as the very first time I've included any of my violin playing in a track; The violin is less upfront but I wanted to include it to give a more Mariachi-esque texture when it is present. Hope you enjoy it, I certainly did while making it! File Link: -- Daniel Florez E-mail: