Chimpazilla

Wow that guitar sounds good. The accompanying guitar is just enough to add interest but not sound too busy. I would have preferred a little louder and more varied padding to fill out the soundscape, but what is here is lovely. The rain sfx are tastefully used and not overdone (as it quite often is on this source!). SoS does get a bit repetitive but you wove in the other two themes so subtly and added your own variation so it never gets stale. Really nice track, simple and elegant. It could stand to be mastered about 3db louder. (OoT is one of MY favorite games, too. ) YES

Intro piano is stiffly sequenced but I like the delay on it. Great drop at 0:22 but it needs to be signaled somehow, with just anything used to introduce it, even a white noise sweep. Drum groove is great when it enters, kick is too quiet, needs more impact. The bass sounds good but it is so low, on some playback systems it won't even be heard. This bass sounds like a good sub-bass layer that would do well with something a little higher frequency layered with it. The lead is the biggest issue to me, the timbre is so plain and simple, and the writing is so repetitive and verbatim to source. The looooong notes are a particular problem, if you sidechained the kick to that lead just a bit, it would groove so much better. You could also add some subtle glitching, phasing, or something else to the lead during the long notes especially, to really make a statement. A little original lead solo at some point would be dynamite. Good buildup at 2:30, could even be longer and more intense. That's the kind of thing that is needed before the first drop as well. This is a really good start! It's not quite there yet but please don't give up on it! Take the opportunity to learn a bit more about mixing and then let's hear this again. NO (resubmit)

Emu has articulated the issues very well. The chippy sounds are cool but aren't balanced well. Leads are much too loud compared to the bass so the track sounds bass-light. The drums are so soft and quiet that they are almost an afterthought, and it's a shame because the writing is really good. You need some serious beef in that kick, snap in that snare, and the hats are barely there, they need some more volume and meat to them and some delay on them. There is a lot going for this track, the writing and arrangement are great, but the production needs a big overhaul methinks. NO (resubmit)

Wow that Twinkle Twinkle track is gorgeous. While I see the similarities in structure between this track and yours, I find that the Twinkle Twinkle track tends to build and ebb, the dynamics are all over the place yet it sounds cohesive overall. The playing style isn't so different from movement to movement that it feels choppy, which I feel is the case in your track. In your track, there are definite stops and starts, and each start brings a brand new style although the instrumentation is the same. Each section of your track has a very definite OUTRO so I feel like it really doesn't flow. In Twinkle Twinkle, there is somewhat of a finality to each section, but nothing I would consider an OUTRO, more of a purposeful pause for the listener to be ready for something slightly different. By comparison, your track still sounds like four really separate ideas pasted together. I do see your argument for getting your track posted based on this stylistic similarity. While Joe's playing is super good and competent, I personally don't find this stop/start style enjoyable, to be honest. Perhaps djp should weigh in on this one. If we do decide to accept this track, it will be setting a precedent for the site. sorry still NO for me

Agreed with Larry above. Great writing and orchestration of this cover, but every instrument needs to be humanized and/or replaced with better samples. Every attack on every instrument sounds the same. Layering articulations is what is needed, so the attacks are different for the different writing passages (long notes vs. shorter ones need different attacks), as well as making sure the notes don't necessarily all hit exactly on the grid every time. I'll add that the piano, while creepy and dark, is also very stiffly sequenced. You clearly can write and arrange, it's time to step back and get up to speed on production and humanization, then you'll be killin' it for sure. NO (resubmit)

I like it!

Thanks! That scrapy, grindy bass timbre inspired the entire track! I fell in love with it myself!

The Frantic Caller On Sept 11, 1997, a man called in to the Art Bell radio show, desperate to talk about his having worked at Area 51. What he had to say was terrifying. A few minutes into the broadcast, the entire radio station's power was shut down. Coincidence? Seven months later, a man called the Art Bell show claiming to be that caller, and even recreating the fearful voice from the previous call. Was this a hoax? Who knows, but it makes for a spooky track. Enjoy!

Sorry it was confusing Larry. The motif is most easily heard from 0:07-0:14 in the source tune, or again at 0:51-0:58 in the source. It's just those 16 notes that I used. Wherever I've used the motif, the notes are exactly the same as the source, but transposed down a half step. I did add some swing to the melody in my mix from 0:45-1:15 and again from 3:15-4:52. The notes are identical though, just down a half step. Looking at this under a microscope, I see I did alter a couple of notes in there, at the ends of some of the phrases, from 3:45-3:48, 4:15-4:18, 4:30-4:33 and 4:45-4:48 for a teeny bit of variation and to fit my concept. So we can remove 12 seconds from my count. New total is 150/292 = 51.4% source. Again I apologize that this is hard to hear, and I know this mix is a bit source-light compared to my usual amount, I usually prefer to overshoot the goal. Don't close this thread out though, I'm actually doing a revision to make a breakdown, as Flex suggested. He was right about that. The track will be the same but with a brief bit of relief from DAT_RELENTLESS_KICK.exe.

Oh my goodness... I never would have expected to hear this upbeat 4/4 source slowed down to a dreamy 6/8 ballad. The source tune plays over and over, but with subtle melody variations and the additional padding that comes in, it never really repeats. I like the bassline writing. I personally would have liked even more elements, but the simplicity is working for me. This is simple yet elegant. The render cuts off before the end of the reverb tail. Note for next time, make sure you capture the whole thing. edit 11/9/15: Wes says the guitar is sequenced. I didn't even catch that on the first listen. Listening again, it does sound sequenced, very well sequenced. I'm going to give this a borderline only because of the repetitiveness of the arrangement, and it's length. Seven minutes is a bit long; I feel it could have been two minutes shorter and that would alleviate some of the repetitive feel. Even so, I find it very enjoyable. YES (borderline)

Contact information: My remixer name is: MasterGi My email is: My userid is: 52576 Submission information: Name of game arranged: The legend of Zelda - The Wind Waker Name of arrangement: Ballad on the Sea Name of individual song arranged: The Great Sea Hi! My real name is Giorgio and i'm from Italy. This is the first track that i send to OCRemix! It is a cover of one of my favourite video games song of all the times: The Great Sea from The Legend of Zelda - The Wind Waker. This cover is in a classic slow rock and roll ballad. I have to thank in particular a Youtube musician: boozinwalsh (this is the link to his youtube page: https://www.youtube.com/user/boozinwalsh) because i've taken the inspiration for this arrangement from his cover of this song. I hope that my arrangement will be accepted. Bye! MasterGi

AnalogStik John Montoya john@affinitypixel.com http://analogstikmusic.com User ID - 53088 Game - Mega Man VI Name of arrangement - Royally Screwed Name of original song - Knight Man Personal comments - My brother always talked about how he loved Mega Man VI when he was growing up. I decided to rerecord one of my own personal favorite tracks for him!

AnalogStik John Montoya http://analogstikmusic.com User ID - 53088 Game - Mega Man VI Name of arrangement - Robo-Freeze Name of original song - Blizzard Man Personal comments - My brother always talked about how he loved Mega Man VI when he was growing up. I decided to give this theme my own little twist by trying to give it that vintage rock sound to it. Link to remix - I have the original file if there are any encoding problems.

AnalogStik John Montoya http://analogstikmusic.com User ID - 53088 Game - Goldeneye 007 (N64) Name of arrangement - Intruder Alert Name of original song - Runway Personal comments - Graeme Norgate has been inspiring me since I was a little kid with his contribution to Goldeneye 007's OST. There was a certain sound that you hear in this remix that was used a lot in the original OST. I reached out to Graeme and asked him, "Man, I've been wondering what this certain sound was for years! Where is it from?" Here is his exact reply - "About 3 years ago, I thought I'd write a blog about that sound... I still haven't done it, but the amount of times, this questions comes up, I really should The "pole" sound you refer to, is called infinite and was from the Proteus FX sound module. There's a similar type of sound on the Roland R8 drum machine.. Spark and Thriller. But the Proteus is the one that was used on Goldeneye." He then provided me links to help me find that "pole" sound from the Proteus FX sound module. Once I discovered it I figured it was time to make a remix of one of my favorite songs from the game! I used the same exact sound from the Proteus FX. There's a digital copy of the sounds available here - https://www.digitalsoundfactory.com/products/e-mu-proteus-2 Special thanks to Graeme Norgate for finally helping me figure out what that "pole" sound was and for inspiring me to enter the video game industry. You rock! Link to remix - I can change the encoding if needed - I still have the original project file. Thanks for listening to my submission! If you have any questions please feel free to contact me! - John Montoya P.S. if this get's accepted and you find grammatical errors in my "Personal comments" sections, please feel free to correct them.

This has to be the strangest remix I've ever personally heard. The concept is pure genius, and honestly I love it. The source works perfectly with this concept. The mix is well crafted and mixed. This mix is hilarious for the album, but I'm honestly not sure this can be a standalone mix on OCR. With the vocals, there is a lot of space where there is no music, and sometimes there is just silence in between. Does this even land within the vicinity of OCR standalone mix standards? I suspect it does not, but I will wait for Larry's reply on this one. Either way, super silly fun. These are the worst jokes ever, ever, EVER. edit 12/4/15: I still like this simply because it's so odd. I can't see it as an official OC ReMix, though. NO

For Final Fantasy 3 Album Contact Information Username: timaeus222 Name: Truong-Son Nguyen http://soundcloud.com/timaeus222 http://tproductions.comeze.com/ ID: 39971 Submission Information Game: Final Fantasy 3 (NDS) ReMix Title: Chocobo's Comedic Side Console/Platform: NES, Java ME, NDS, PSP, Virtual Console, iOS, Android, Ouya, Windows Phone, Microsoft Windows OST Composers: Nobuo Uematsu, Tsuyoshi Sekito, Keiji Kawamori Sources: Fat Chocobo Appears! (see attached) This is for the Final Fantasy 3 album. ReMix: (VBR1) (WAV) Comments: "When Brandon asked me last minute to join the FF3 album (3 sources left), he wanted me to provide something that would add variation to the album. This quirky little ReMix is probably as varied as they come. :] At first I wanted to do a solo piano ReMix, but then I decided that Chocobo's entrance theme was too "one-noted" (think cooking) for me to try and expand beyond a silly mood. Imagine Chocobo as a comedian, wearing a Groucho Marx mask, in an old-school bar that holds an open mic night. There is a honky-tonk-like pianist that plays in a ragtime-meets-jazz style and old-school percussive accompaniment that reflects the current situation or predicted situation (i.e. fake-outs vs. actual buildups). This is basically a live-esque performance that, if recorded, would be while facing the audience but behind all of the performers. All the vocals were just me doing some voice-acting. The French guy's lines were inspired by a funny guy I met at church the week before I wrote this, when he said, "Hey man, play me a tasty beat [on that bass guitar]!" Aside from that, this is a little hard to explain, so I'll just leave you to listen to it and hear for yourself. Source Breakdown: 0:00.00 - 0:03.43 = Source (0:00.00 - 0:02.60) [Grand entrance] 0:05.69 - 0:07.66 = Source (0:04.18 - 0:06.20) [Enter Chocobo] 0:09.69 - 0:11.01 = Source (0:04.18 - 0:06.20) 0:13.42 - 0:19.40 = Source (0:08.24 - 0:14.41) 0:19.40 - 0:32.42 = Source (0:16.41 - 0:20.41) [Chocobo tries to establish himself] 0:32.87 - 0:35.52 = Source (0:12.41 - 0:15.91) 0:36.80 - 0:49.45 = Source (0:16.41 - 0:20.41) [Chocobo makes his first good joke, sort of] 0:49.45 - 0:50.71 = Source (0:12.41 - 0:13.91) 0:59.06 - 1:03.17 = Source (0:04.18 - 0:08.24) [Chocobo invites guest on] 1:03.17 - 1:22.35 = Source (0:20.42 - 0:24.42, 0:28.41 - 0:31.77) 1:22.35 - 1:23.58 = Source (0:14.41 - 0:15.91) [Chocobo's first punchline] 1:24.32 - 1:45.58 = Source (0:16.41 - 0:20.41) 1:52.72 - 1:55.91 = Source (0:12.41 - 0:15.91) [Ouch! That hurt!] 2:01.28 - 2:04.73 = Source (0:04.18 - 0:08.24) [Enter heckler] 2:05.21 - 2:11.34 = Source (0:16.41 - 0:20.41) 2:11.68 - 2:12.95 = Source (0:12.41 - 0:13.91) [Heckler, about to make a fool of himself] 2:42.48 - 2:44.51 = Source (0:04.18 - 0:06.20) [End of Chocobo's comedic appearance] 2:46.51 - 2:47.81 = Source (0:04.18 - 0:06.20) 2:50.22 - 2:55.54 = Source (0:08.24 - 0:13.91) 2:56.19 - 2:57.50 = Source (0:14.41 - 0:15.91) 3.43 + 1.97 + 1.32 + 5.98 + 13.02 + 2.65 + 12.65 + 1.26 + 4.11 + 19.18 + 1.23 + 21.26 + 3.19 + 3.45 + 6.13 + 1.27 + 2.03 + 1.30 + 5.32 + 1.31 = 112.06 112.06/184.08 = 60.88% source" Extra Info: I used the PSP version at first, but then realized the NDS version of this source tune had the exact same notes. Plus Brandon is going for FF3 on the NDS anyways, so I'm going with the NDS version. Script: [intro music] Chocobo: Check, check, is this mic working? Hey guys, this is Chocobo. What do you get when you cross chocolate and an oboe? My name! Hehehe. Hm. Tough crowd, eh? Alright, let's see what else I got. Hm. Ah, here we go. What's the difference between a jeweler and a jailer? One sells watches and the other watches cells! Yeah, you like that, huh? Good to see I'm getting somewhere. Hey, you there. Yeah, you. You in the khakis. Come on up! [Enter Jake from State Farm] (Entrance music) Chocobo: What's your name, man? Jake: Jake. Chocobo: Jake, like Jake from State Farm? Jake: Yeah. Chocobo: So like, do you always wear khakis, man? Is that like your style? Jake: Yeah, man. What about you? What do you like? Chocobo: I like knickerbockers more than khakis, to be honest. Jake: Are you insulting me? Chocobo: No, I'm insulting your pants. Jake: Dude, you're crazy, man. Your mom must be crazy too. Chocobo: My mom's crazy? Yo' mom's so crazy, I don't want to drive behind her. Jake: Oh yeah? Well your mama's so crazy, she tried to go through college without reading a single textbook. [GASP!] Chocobo: What's so crazy about that? My chiropractor did that and he succeeded. Yo' mama's so uptight, she makes stank faces in the mirror! Jake: Oh yeah? Well, your mom's so old that uh... that... uh... Jake: Yo' mama's so old-school that when you ask her what music is, she doesn't know! Heckler: Hey, you! Get down from zere! You're tainting ze mic with your stupid jokes! [Enter heckler] (Sillier entrance music) Chocobo: Stupid? Heckler: Yeah! I'm gonna show you some SICK, TASTY BEATZ, man, and you're gonna like it! Chocobo: You're gonna show me a purple vegetable? Heckler: No, BEATZ! Like ZIS! [beatboxing, followed by coughing] Chocobo: Hey, security, security, come and get this guy off the stage. Heckler: NO! I'll get myself off ze stage. You haven't seen ze last of me! [Exit Heckler] Chocobo: Well, that's it for today. Thank you, Jake, and weird... French guy. Thank you, and good night... I guess. [Outtro music]

Remixers: Emunator, Chimpazilla Emunator's Comments: This is one of my most ambitious arrangements to date. The original File Select song from SM64 was only about 20 seconds long, but it served as a warm, gentle prelude to a grand adventure that left a huge nostalgic imprint on my mind. It was a challenge expanding such a short source to a full-fledged 5 minute arrangement. To accomplish that, I shuffled between several styles here - because it's me, it's full of layered, watery pads and a dozen different bell sounds, but I wanted to really flesh out my style with some synth/pop influences, and also bring back more of the ethnic overtones that were featured in my first two remixes. The last section is a (hopefully very obvious) homage to 'Africa' by Toto that I had an absolute blast writing. This has been in the works for over 2 years. It was sitting at about 90% completion for the longest time, but something was missing. I showed it to my good friend Chimpazilla and she just ran with it. She filled in the gaps in my track with some original melodies and harmonies, additional percussion and pad layers, and gave it a dynamite mastering job that really made it shine. She helped me get over that last hurdle and truly do justice to the original concept I had in mind.

Contact Information Meteo Xavier. The rest should be on file. Submission Information Name of game(s) arranged - Secret of Mana Name of arrangement - "Psalm Of The Summer Sky" Name of individual song(s) arranged - "Color of The Summer Sky" Your own comments about the mix, for example the inspiration behind it, how it was made, etc. "Good afternoon - it's been a while since I submitted anything to OCR and this one I am very proud to submit. This track is my contribution to a project that was themed to celebrate DJP's baby's birth and I jumped at the chance to do it as it had been a while since I was invited to a project and one of my all-time favorite compositions ever was fully open to remix. I was... 8? when I first heard "Color Of The Summer Sky" and it was a religious moment of itself. Although I like to play Secret of Mana during the Autumn season, the song itself really does sound like Summer during childhood. When I hear it, it makes me think of Vacation Bible School and other good church-related Summer memories, and that's where "Psalm Of The Summer Sky" comes from. I really didn't have a plan for how I was going to do this. I'd been working on trying to get a more aggressive, EDM style going, and I wanted to do a track that Daddy and Daughter could both enjoy on its own merits. I specifically chose a lead triangle because something in its tonal quality had an emotional and innocent feel perfect for what I was going for, lots of upbeat EDM sfx, bells, hard hitting beats, a smoky electric piano that also really hit home some feels without getting too emotional or melodramatic, and then later some aggressive leads to please the adults in the room . This is my first track where I used a lot of glitching too, and ultimately I was trying to go for a significant, upbeat dance track that was sort of a mix between Halc/Ben Briggs and bLiNd. I did try to rectify some of my previous issues with repetitiveness with this track, but I admit I couldn't do it as well as I'd hoped. Because the beats were all pre-made sliced up stuff (much of it from other beats I'd made for failed songs), I had trouble trying to variate them and make fills, so I tried to ease up on the repetition by adding more percussion in at places and using Gross Beat to change up the beats at necessary points. The electric piano IS humanized in terms of velocity, but it still might sound mechanical. My only other grievance was I made the supersaw section too loud and big, but I couldn't find a way to reduce it and keep that section sounding full and right at the same time. Still, without trying to toot my own horn too loudly, I think this is a major upgrade to my previous remix attempts and electronica production skills and very definitely the best remix I've done yet. I hope you enjoy. This track was mastered by bLiNd. It also got Hiroki Kikuta's personal thumbs up for it. Track breakdown is this: 0:00 - 0:28 - Color of the Summer Sky arpeggio over new intro-arrangement. 0:29 - 0:57 - COTSS Section A over re-arrangement. 0:58 - 1:11 - COTSS Section B, little more straight forward. 1:11 - 1:18 - New arrangement. 1:19 - 1:45 - Highly re-arranged version of Section A melody plays over completely re-arranged section. 1:46 - 2:30 - I think the only part of the original COTSS composition is played by the xylophone on the left, and even that is re-arranged slightly. 2:31 - 2:43 - COTSS Section C re-arranged as a riser. 2:44 - 3:11 - Pretty straight forward COTSS Section A with some re-arranged chords and an additional melody. 3:12 - 3:40 - Again, very noticeable Section A melody with lots of new interpretation and new chord progression. 3:41 - End - Section B arranged as an ending." Source:

Hey guys. So it’s been 5 (crazy) years since I submitted ‘The Angels of Hell’ and (an even crazier) 10 years since I created my first VG arrangement. Me thinks it’s time for something new! Remixer Info Your ReMixer name: Random Hero Your real name: Ryan Roberts Your email address: Your website: https://www.facebook.com/randomhero81 Your userid: 4705 Remix Info Game Title: Sonic Spinball (Genesis) Remix Title: Roboticize Me! Source: The Machine Original Composers: Howard Drossin, Brian Coburn, Barry Blum Game system: Sega Genesis If memory serves, I actually started this remix in 2009. It was originally intended to be much longer as I created about 2 min of addition material for the song. Maybe I’ll do and extended edit some day. Anyway, many of my songs have a story that goes a long with them and this one is no different. In the game, this level takes place in a giant robotizing machine where innocent animals are turned into ‘Badnics’ by Dr. Robotnik (I’m old school). The first part of the song (0:00-2:09) introduces the machine. Now, just picture a little furry critter being put inside of this massive machine, tubes and conveyer belts going everywhere, and the little guy having no idea what’s actually happening to him (2:10-3:05). It’s kinda exciting and kinda playful but still uneasy and foreboding (think Looney Tunes cartoons with the Powerhouse theme by Raymond Scott:https://www.youtube.com/watch?v=r3FLN0iQ9SQ). But then it sees another critter being turned into a robot (3:05-3:34. A melody I created). The Machine’s true nature is revealed! Then the machine goes into overdrive! It’s now a fight for your life! Does our furry friend escape? I wanted the song to reflect this sense of good vs evil. Or more specifically, The Organic VS. The Synthetic. No where is this clearer than during the roboticization scene (3:05-3:34) and at the end (4:00-end). The end melody really doesn’t sound natural at all anymore. It’s almost disjointed, with both strings and synths battling for supremacy. It just sound a little OFF! Hope you guys enjoy! Ryan Roberts Random Hero Source:

Remastered versions 1/22/16: Brent changed the arrangement a bit, added some effects, slowed it down, and improved the mixing, and I mastered the result. This track has now gone plaid past "evil" and arrived right at "demonic." Perfect for the album, methinks! --------------------------------------------------------------------------------- PROJECT TRACK: for BadAss3 Remixers: Chimpazilla & Redg Game arranged: Legend of Zelda: Wind Waker Name of arrangement: 'Molgera's Love' Source arranged: Molgera Battle theme https://www.youtube.com/watch?v=wlF0-Qs2xkI Special thanks to WillRock for his "chicka chickas" -------------------------------------------------------------------------------------------- This room, I've been here before. The thick musty smell and the dim sepia-toned light are so familiar. I'm in an enormous sand pit, enclosed by... walls? I can't escape, I must jump down below, must move forward. The ground rumbles as the room fills with even more dreaded sand. Suddenly from the floor bursts the most marvelous creature with sideways flapping lips... is this some kind of god? Before I can organize my thoughts, the beast has gone back down beneath the sand. The Thing of Glory emerges partially to reveal a single magnificent purple tentacle. I am being drawn into the swirling eddy surrounding this godlike Entity. It seems I am destined to merge with It... but no, the fear is too great, I must resist. Instinctively I lash out; the terror is too powerful to do anything else. Ah, but the Beast speaks the language of pain. I slash away. I am rewarded with miniature copies of Itself! The wormlike demigods leap and roar and hurl themselves at me. I am blinded by airborne sand. Paradoxically I am helpless against the aggressors until I draw them close to me! At the very moment they could most easily devour me, I have my advantage! I must kill them... I must... the Big One will have it no other way. Sometimes the murder provides me with a life-sustaining heart, but not always. The mini-beasts attack, more and more of them emerge from the sand, while their parent, the Primary, continues to taunt me from its position in the floor, waving toward me with its one sinister tentacle, surrounded by those two odd appendages, flapping hypnotically. I must kill this Beast. It is him or me, I'm sure of this now; I am running out of lifeforce. The minions surround me, offering sparing, random chances to regain my strength. I need hearts desperately, running too low now... lower and lower health. I hear a strange beeping in my ears, getting louder and louder... Oh Godlike Creature! Please give me life-sustaining hearts! My beautiful Molgera, revered All-Powerful Being, all I wanted was for you to love me... MOLGERA, WHERE IS THE LOVE??? ------------------------------------------------------------------------------------------- Source breakdown: Here are the sections of the Molgera source that we used: motif A: 0:12-0:38 http://youtu.be/wlF0-Qs2xkI?t=12s motif B: 0:38-0:50 http://youtu.be/wlF0-Qs2xkI?t=38s motif C: 0:38-0:39 (just 4 notes) http://youtu.be/wlF0-Qs2xkI?t=38s main drum beat: 0:00-0:11 http://youtu.be/wlF0-Qs2xkI transition notes: 1:04-1:10 (5 notes but we used 3 and repeated them as a 4 note pattern)http://youtu.be/wlF0-Qs2xkI?t=1m4s chicka chickas 0:06-0:11 http://youtu.be/wlF0-Qs2xkI?t=6s And here is where they are in the ReMix: 0:00-0:22 transition notes 22 seconds 0:22-0:29 original 0:29-0:59 motif A (and chickas by WillRock!) 30 seconds 0:59-1:10 motif B 11 seconds 1:13-1:28 motif A 15 seconds ----------------------------------------------------------- From 1:28-3:40, the drums and bass are meant to represent the main drumbeat at the beginning of the source, and the bass is following the chord structure of Motif A. Since this is so tenuous, I have timed these parts out and put them in parentheses, but they are not counted in the total unless there is obvious source motif over them. They can be counted if needed only. ------------------------------------------------------------ 1:28-1:44 main drum beat using motif A chord structure (16 seconds) 1:44-1:55 motif A 11 seconds 1:56-1:58 motif C 2 seconds 1:55-2:27 main drum beat using motif A chord structure (32 seconds) 2:27-2:42 motif A 15 seconds 2:42-2:58 original harp solo over main drum/Motif A chord structure (16 seconds) 2:58-3:10 transition notes 12 seconds 3:10-3:12 motif C 2 seconds 3:12-3:20 motif A 8 seconds 3:35-3:40 chicka chickas 5 seconds ReMix length: 3:40 or 220 seconds Source use excluding the liberal bass/drums sections: 133 seconds or 60% Source use if bass/drum sections are counted: 197 seconds or 90%

starlight buffalo Colin Herrera http://soundcloud.com/starlightbuffalo user ID - 54483 Legend of Zelda - Ocarina of Time Once More ~A Last TIME~ Temple of Time - Kondo Koji A friend asked me to cover a song from any Zelda game. After, he told me I should submit it here. The pieces came together and here we are. Taking a very minimal and clear melody and expanding on it is generally a fun challenge, albeit dangerous. Particularly orchestrally. Working out countermelodies and new sections that never betray the spirit of the piece, enough so that they feel organic and like they always belonged is great. Trying to take it somewhere new, but maintain the heart of it, so it could still feel like it could be dropped right back into the story. In truth, however, it was a slog to get through. A friend of mine died last September - a fantastic Zelda fan - and he was in the midst of a play-through of every game at the time. So it brought up a lot of difficult emotions. Maybe that's saying too much? Eh, honesty is honesty.

This is a really great arrangement of this source, with great performances. Interesting to take this arrangement from 3/4 to more of a slow 4/4 or even a 6/8 time signature. The violin is a highlight for me. The guitar work is really very good. The drums are good too, but I can barely hear the kick, and there is some lo-fi effect on the kit, most notable on the snare, that I think is intentional but to me it just sounds distorted. Regardless, great mix. YES

Contact info Remixer: Tim Sheehy Real name: Tim Sheehy E-mail: http://www.timsheehy.com UserID: 106 Submission info Name of game arranged: Castlevania: Order of Ecclesia Name of arrangement: Somniatis Name of individual song(s) arranged: "Wandering the Crystal Blue" Comments: This arrangement had been collecting dust for years despite being nearly complete, so I pushed myself to finish it up. It's still not the arrangement I wanted it to be, but if let that stop me, nothing would ever get done. Still, I think it stands up to the original pretty well.

Dear Sir Pretzel, I made a remix for you. Here is a link to the stuff (mp3 320kbps) Contact Information Artist name: Kruai Real name: Asa Price Link to my soundcloud: www.soundcloud.com/kruai User ID: 19037 Submission Information Game arranged: Sonic Rush Remix name: Darker Than Black Original: Wrapped In Black This game is for the Nintendo DS. The original song was composed by Hideki Naganuma. Link to original My comments: Dang, I love this song. Wrapped in Black is my favorite tune from the Sonic Rush soundtrack, and I jam out to it on a near-daily basis - it's one of my favorite tracks from Hideki Naganuma. He is one of my inspirations as an artist, and I hope to one day be as musically creative as he is! That's all I really have to say on the mix. All I ask is that you not call it "dubstep" this time around Yours respectfully, Asa Price

I adore this source! Cool idea for a remix, and the mixing is pretty good here, but the transitions are awkward with so much silence. The drums are simple and dry. The writing is pretty simple and the timbres are generic and unprocessed. The arrangement is the bigger issue. This mix consists of two identical playthroughs (or nearly identical) of the same material. For OCR there would need to be some variation in the writing or arrangement in the second half. NO