Chimpazilla

I hear the source use just fine here. The track is lacking in lows other than the deep timpani, but I really like that deep timpani, it is very ominous (and it is probably for the best that there is nothing down there competing with it!). The track seems to be mastered very quietly, I think you could have raised the limiter just a teeny bit more. The use of samples is good though, and the writing is good. I really like the faster violin passages such as 0:20-0:24 and 0:51-0:57. The drumming is exciting and appropriate. Good dynamics throughout the track. The vocal samples are reminding me of The Omen, in a good creepy way, especially starting at 2:44. The vocals almost get too groovy from 3:07-3:18. Vocals might be a touch loud after 2:44. Nitpick: from 1:37-2:11, you tend to rely on slow whole note patterns with not too much else going on, most notable at 1:48-2:11. I think something else could have been added there for much more creepy impact, like some wind or some kind of sound effect. Good crescendo into the outro. Overall, I like it! YES

Hi everyone, hope you're all doing okay! Note: This ReMix is part of the BadAss 3 album. Contact Information Chernabogue Alexandre Mourey www.fflproduction.fr 20943 Submission Information Pokémon Red/Blue Versions Crescendo to Chaos Final Battle / VS Rival (and a little part of Indigo Plateau at the beginning) GB / Junichi Masuda My notes from the album notes: Since the first volume of BadAss, people requested that someone should arrange a boss theme from Pokémon, especially the final battle with "Gary Motherf*ckin' Oak" from the first generation. A remix of that track was in the works for the second volume, but it never happened. As I was working on a Digimon remix too, I thought I could also do something for the Pokémon fans. The source from Pokémon RBY is very chaotic -- it sounds frenetic and not structured. I tried to make it sound as epic as possible, since epic is the theme for this final volume. Bombastic was the goal here, but I also added some darker/ominous sections, which I really love. Gary Oak is the final boss, the ultimate obstacle, the last trainer you have to best before finally earning your title of Pokémon Master. Are you ready? Because he really is. LINK to REMIX: I hope everything's fine, and I truly hope this one passes, since it's maybe one of my best orchestral remixes so far! Peace!

Just a few notes at this point, this sounds nice but there is significant copy/pasta between the first and second halves, although a wide panned arp has been added in the second half. The guitar solo is wonderful but is mixed just a bit too quietly. I like the slap bass. Sine lead and accent are both a bit piercy. Drums are repetitive. I wish there was more guitar in here. edit 6/11/15: I still find the drums repetitive, but I think it is the snare and too-loud/dry hats giving me this impression, so I apologize if I'm overlooking more details in drum elements that are less noticeable. I'm not a fan of the first lead that sounds like a pan flute, it seems a bit weak. Wow, that guitar work is really good, I still wish there was more guitar and a drop louder in the mix. I wish 0:59-1:29 was more different from 2:35-3:05, the only difference I hear is the wide-panned sequenced sine. After 3:05, the section of 2:35-3:05 just repeats until fadeout. This bothers me, but not a dealbreaker. I'm not finding any overcompression, I don't hear any and SPAN shows the RMS right around -11db which is just fine imo. YES

ReMixer name: Toni Leys Real name: Toni Leys email address: Website: http://www.tonileys.com/ Userid: 48173 Name of game: Freedom Planet Name of arrangement: A Mystic Lineage Name of song arranged: Dragon Valley 1 Composer: Leila Wilson (Woofle) System: PC / Steam Link to the original soundtrack: http://galaxytrail.bandcamp.com/album/freedom-planet-official-soundtrack Comments: My favorite track from the game, wanted to take it and make it more bombastic and exciting (which was hard since the original was exciting enough for me) and made a harder arrangement combining electronic and acoustic sounds as is my style and the original soundtrack's. The guitar solo was recorded by my friend Esteban Bellucci as a "Let's see what happens", it turned out into a super great solo. Made with love to the guys from 'Galaxy Trail'.

No problem hearing the source tune here! Intro piano is nice but a bit mechanical. Violin lead at 0:44 is very fake, writing is extremely conservative. I like the writing variation from 1:12-1:26. The drumming is sounding very repetitive overall. Not a lot of bass in the soundscape. The source melody is being played through quite a few times verbatim without variation. At 2:40, finally some more interpretation, I like it, but the lead timbre for this solo is really plain and gets piercy and thin when it hits the stratosphere at 3:08. That whole solo section could sound so much better with a more expressive lead, and even a countermelody added. FADEOUT ENDING. Growl. I'm not sure here. I have a few production issues and the writing is quite conservative. Gonna see what others say. ?

My ReMixer name: Joe Sua My real name: Joshua Matthews My email address: My website: Soundcloud.com/joesua My userID: 53952 Name of Game: Legend of Zelda: Ocarina of Time Name of Arrangement: Lost Woods/Saria's Song Original Composer: Koji Kondo Name of individual song/ReMix: Saria's Dreamland Link to Original: Legend of Zelda: Ocarina of time - Lost Woods Link to ReMix: Saria's Dreamland Your own comments about the mix, for example the inspiration behind it, how it was made, etc: Greetings Judges, This ReMix came about as a result of a remix assignment I was given in school. Since I am a fan of the Legend of Zelda series, I wanted to pay homage one of my top favorite songs: Saria's Song/Lost Woods. Given that the song is already refreshing but albeit short, I decided to add my own arrangement for the intro, ending and stretch the theme a bit. In the intro, I wanted to give the listener the feeling that they are flying through a tunnel of light particles with a "spacy" backgrop. For this I decided to use the piano, chimes and layered synth pad. For the next part I used bells and the piano to lead the listener through a portal of light to the Village of the Kokiri to meet Saria. For the main theme I decided to use violins, flute and lead synth for the melody, piano and woodwind section to capture the accompaniment and Mark I (with panning wah effect), cellos and bass section for the chord progression throughout. I added the bells and panning harp to bring out the magic and innocence of the original theme. For the ending my goal was to leave the listener desiring to hear the song again and since some of my favorite anime/rpg songs fade out without resolving the progression while leaving me wanting more, I figured I'd would try to incorporate that idea into the remix. Saria's Dreamland was ReMixed/arranged/performed by me alone and is the first remix I've made. I took care to read the instructions you left. I've read some of the critiques on the submissions so I know I'll receive some great feedback even if the song is declined. I hope you all enjoy the remix. If possible, I would like you to leave the link of the submission on your decision. Thank you for listening and for your consideration, Joshua "Joe Sua" Matthews -------------------------

Yep no problem with source use! It's a very cute, upbeat track. Track ends up sounding a bit stiff and choppy due to mainly staccato samples being used, with really no legato to glue things together. The only remotely legato element I hear is the flute starting at 1:38. I think adding just one legato element like some blocked violin chords would improve and fill out the soundscape quite a bit. But, the staccato feel goes perfectly with the feel of the source tune, it sounds very DK. Drumming gets repetitive. Vig is right, song does feel longer than it is. Overall the track is nicely done and well mixed, very cute and enjoyable. The ending isn't blowing me away though, it just sort of... ends. Still, YES

Ok I'm really struggling with this. I don't hear source at all. What I do hear is some very piercing sound choices. The beginning lead synths are so loud and piercy and detuned and I admit I'm not a fan of detuned saws so I might be biased there. The writing all the way to 1:20 is really repetitive. The piano that begins at 1:20 is stiff and unhumanized. The drums in general are unbalanced with the snare being too loud and kick too soft. The writing is again repetitive from 1:32 all the way to 2:18. At 2:18 there is another very detuned saw lead. The drum writing is also repetitive in this track. I'm a no on this track but I'm at a loss to explain what can be fixed beyond my production crits and the fact that I hear no source. Honestly I'm just not sure this concept works overall. I'm likely to revise what I've written here after others make their comments and I feel more clear on this. NO

Contact Info: ReMixer name: about:blank Real name: Chris Bouchard Email address: ReMix info: Name of game ReMixed: Final Fantasy III Name of individual song ReMixed: Nepto Shrine ReMix title: Neptoverture ***This ReMix is part of the upcoming Final Fantasy III Project*** Hey, all. I recently finished this ReMix for the Final Fantasy III project. Roughly 80% of this was recorded live on a Roland SH-101 analog synth while the rest was sequenced. Also, Brandon recommended I map out the mix's relation to the source, as it can be a bit liberal at times. Using this link of the original as a guide, here is how I interpreted the source. 0:00 - 0:04 of the original is referenced in 0:11 - 0:19 of the remix. I'll admit I syncopated the melody pretty heavily here. 0:05 - 0:19 is referenced in the lead at 0:34, and I make slight variations on this riff (adding a few notes, playing it with a different tone, etc.) until 1:19. 0:19 - 0:35 is referenced during the piano section at 1:24 - 2:18. I do change the key at a few points, but aside from that the riff is almost identical to the source, as I (almost) directly based that section on the midi. The solo at 2:20 is admittedly just something I felt like playing and the glitchtune ending synth is another nod to the riff at 0:00-0:04 of the original. Let me know if it's worthy! Best, ----------------------------------------------------------------

I ditched FL nearly two years ago and I don't miss it at all, for the reasons Neblix has been mentioning. All those pattern names and "make uniques" and "link to controllers" etc. are terrible and I just prefer Cubase as the routing and track layout makes so much more sense and it's stable as can be. FL still being a 32bit host is so obnoxious! I hated having to adjust the buffer rate and fiddle with multithread processing etc. and my files still tended to stutter and crash, even on my super-upgraded computer. Is FL12 at least 64bit? You're telling me it's even MORE unstable than FL11? Good riddance, I say! I've been very happy with Cubase. S1 looks good though. So far I'm not motivated to switch as I feel like I'm still learning Cubase, but maybe one day I will. Some of those features sound pretty neato.

I'm really liking this adaptation of this source. It sounds magical and moody and Harry Potter-esque in the intro with the celesta, and when that piano begins at 0:28, I love the soft piano tone, it conveys sadness even while the writing is upbeat. The deep bassoon that follows drowns out the piano a little bit, but it is comically ominous. When the soundscape opens up at 1:07 it sounds wonderful. The flourishes at 1:23 are excellent. I really like the writing and instrumentation in the second half of this track, and the mixing is good except the bass is a touch too loud between 1:07-2:05, it is somewhat boomy. The outro seems so quiet by comparison to the preceding section, I wish there was a more smooth cooldown section leading to the outro. I also wish the epic section lasted longer, this is a short track. You used your samples quite well here. If this doesn't pass, please tame the bass from 1:07-2:05. YES

Contact Info: Remixer: Nate Tronerud Full Name: Nathanael Tronerud Website: http://nate.tronerud.com - https://soundcloud.com/natetronerudmusic UserID: n/a Submission Info: Game: Dragon Quest IV Arrangement: Chapter 2: March of the Tomboy Princess Original Song: Alena's Theme (link leads to YouTube) Composer: Koichi Sugiyama System: NES/Famicom Comments: Having adapted Ragnar's theme from Chapter 1, I've moved on to Chapter 2 in a similar fashion. As before, I attempted to orchestrate the original tune whilst avoiding Sugiyama's own choices from the symphonic suite. I decided to take a narrative approach to the arrangement, and so the track follows loosely the ups and downs of the story during this chapter. Beginning lightly and distantly in the celesta, and at a slower tempo than the original, Alena escapes the confines of her home and makes her way out into a dangerous world. The music grows dynamically with the whole orchestra as she attempts to prove herself. Finally, the movement finishes with a short and quiet variation on her theme in the upper woodwinds that ends with an airy, open harmony, that signals the end of the chapter and a continuation of the story. As before, I used a MacBook Pro with 8GB of RAM. The specific sample libraries utilized in this arrangement were CineBrass Pro, East West Quantum Leap, and LA Scoring Strings in Logic Pro 9. Thank you!

This track is loooooong. I'm not ready to vote on this yet or to look at source use, so just a few notes for now. I like the complex syncopation in the intro. At 0:55 the arp is too loud and has too much lows. The lead is buried from 0:55-1:36 and 1:54-2:11, the lead is too quiet compared to the arp. I like the time signature changes in this track! But the transition at 2:20 is pretty abrupt. The bass beginning at 2:20 is too loud. Is that a Link vocal clip at 2:46??? What's he doing in here? The section from 2:20-3:41 is repetitive. At 3:41, the transition is again rather abrupt. At 4:16, that lead is very plain, lacking any kind of modulation, but it's a short section. 4:43 is yet another abrupt transition. I love the little sine accent starting at 5:00. That section from 5:00 to 5:39 is very cool! Starting at 5:39, that piano is super mechanical, every note the same velocity and strictly quantized. At 6:10, a new beat drops that is much too loud, and this section seems to build in volume and quickly sounds overcompressed. I'm looking at a waveform sausage like I've never seen before starting at 6:10. There are literally zero dynamics in the track from 6:10-7:13 and from 7:28-8:25. The entire section from 6:10-8:25 is much too busy with too many elements competing. The ending of the track is very abrupt considering it comes after such a long and intense section. This track is pretty bold for someone who is new to using a DAW, so props for that! But I think there are several issues to be addressed. I haven't looked at source use yet, I will do that later. *hoping someone beats me to it though* I'm voting NO anyway due to production issues. NO (resubmit)

Haha! I did an entire track where I used those Omnisphere voices as leads. I thought it was funny; no one else did. Oh well. I like them here as backing, I think they are panned too severely though. I really like that bassline! The samples you've used here sound very good. I'm not fooled that those are real trumpets, and I recognize that Omnisphere steel guitar, but you've used the samples well. I have two issues with this track. One issue is that the drum beat sounds quite repetitive, although you have added some snare rolls and transitions, the primary beat really never changes. My other issue is that the source melody never changes. You said you did this for MnP, so I understand that you stick quite close to the source writing. And you've certainly varied the instrumentation, so it does sound fresh throughout. I'm actually going to wait for some other opinions on this before voting. edit 7/13/15: Listening again, my above-mentioned crits still stand. But there is so much going for this track, it's really fun. Dat bassline. To use a Larryism, "let's go." YES

Hiya, Contact information: Remixer name: Jorito Real Name: Jorrith Schaap Website: http://www.jorito.net/ Userid: 3917 Submission information: Name of Game(s) Remixed: Kirby's Dream Land 3 Additional Game information: System: SNES Developer: HAL Laboratory Genre: Platforming Released: 1997 Composer: Jun Ishikawa Name of Arrangement: Dreamin' Of Them Funky Ripples! Names of song arranged: Ripple Field (http://www.youtube.com/watch?v=Ayiva561auI) Comments about the mix: So here's a funky, groovy remix of the song "Ripple Field" from the SNES game Kirby's Dream Land 3 that I originally did for the Meat 'n Potatoes compo. Never played the game myself but the source tune was very catchy, and it turned out to be a cool and fun track to work on. I tried going for a bit of live funk band feeling. I started with the funky guitar and the horns, and the slap bass and the organs came quite naturally after that. And of course those nice cheesy jazz scat voices from Omnisphere just begged to be used somewhere, and this song was a very good place for them. Basically got so inspired by the source track that the song more or less created itself. Cheers, Jorrith

Hello guys! I am new to the site. I tried registering an account, but never received a confirmation email, so I can't give you a userID. My username is zsottolano (if you could resend the activation link to this email, maybe I can get you that user ID soon!). I am including my song submission to be reviewed as an attachment. It's in MP3 format and 192 kbit, as specified. The song is a bit over the suggested length of 2-7 minutes, and is at 8:43, but it is all very fluid and connected. If you are having trouble receiving the attachment, the song is on YouTube (in .wav form). I am not sure if email allows files of this size to be submitted, so if you don't receive it, please let me know so I can resend it a different way. It is also on my SoundCloud account (both sites are linked below). Here is the info needed below: Contact Info: Remixer Name: Zack Sottolano Real Name: Zack Sottolano Email Address: Website: (Just links to my YouTube Account): https://www.youtube.com/channel/UCd3sHCKLl7A3Bpk7v2DaDQQ Website 2: (SoundCloud): https://soundcloud.com/zack-sottolano UserId: *see above* *did not receive activation email* Submission Information: Name of Game(s) arranged: Wizards and Warriors; Ironsword: Wizards and Warriors 2 Name of Arrangement: "Kuros Kompression" Name of Individual Songs Arranged: Wind Mountain (WW2); Outside Castle IronSpire (WW1); Title Track (WW1) Additional Information: All songs used within were originally composed by the magnificent David Wise on the original NES. Link to the Original Soundtrack: (The following are 2 separate YouTube links which contain all 3 songs that I've remixed, and are uploaded by WiiGuy309): Wizards and Warriors 1: https://www.youtube.com/watch?v=59oxJMjb4HI ; Wizards and Warriors 2: https://www.youtube.com/watch?v=EtNeyx7-M7Y Own Comments: I have a special spot in my heart for Wizards and Warriors and have been mesmerized by the Title Track and Outside Castle Ironspire songs since I was a kid. David Wise is a personal favorite composer of mine, along with Nobuo Uematsu, and Koji Kondo. I felt like the Wind Mountain song could be a neat segway into exploring the aforementioned themes. I attempted to add the elements of a more modern beat (some might describe the style as chillstep) and I wanted it to have a funky, dance-like quality to it. The part that I really wanted to re-invent was adding various counter melodies and harmonies, such as adding vocal backing to the Outside Castle Ironspire, and I wanted to have multiple counter-melodies in the Title Track to enhance richness and aural delight! I made the entire composition using MIDI in Cubase 7.5 and used 205 different VST plug-ins. It was written painstakingly over about a month with over 60 accumulated hours of work. I am fairly new to DAW's, and have just started using one in May 2014, but have been playing, writing, and creating music since I was 7. I love the video game music community and am looking forward to contributing more to OverClocked ReMix! Thank you for considering my submission!

Plenty of source here, interesting and upbeat orchestral writing. I'm finding this mix to be almost painfully dry. Right from the intro, I feel like backing elements (like plucked instruments) are too loud and I'm not hearing as much humanization as I think there should be, things sound mechanical and stiffly timed. I know I sound like Larry right now, but I hear a lossy effect on some of the strings, there's a distinctive buzzing sound to some of the samples. I hear it on the bass, cello, and even the oboe. If there were some reverb in the track, this effect would be blurred somewhat and wouldn't be so noticeable. An orchestral soundscape should have a somewhat "wall of sound" sound. I'm complaining that backing elements are too loud, and that complaint shouldn't make sense in the "wall of sound" context. Honestly I think the lack of discernable reverb is making this soundscape feel so strange, but you may still want to take some of the backing plucked elements down in volume just a little bit. Reverb is going to help a lot though. Also this arrangement is a little odd, it is mainly Song A, with Song B tacked onto the end of it. I think Song B would have fit better somewhere in the middle with good transitions between the sections. Stuck onto the end in this way it just sounds like you needed a few more seconds of material. It isn't bad per se, it just feels a bit odd. My main gripe in this track is dryness and the loudness of backing instruments such as plucked strings. I'm hoping you can track down the lossy sample(s) and fix that, but I think reverb will blend it better. What do you other Js think of the arrangement? NO (resubmit)

Dear OC Remix, Thanks so much for cultivating and maintaining such a high level of community interest in video game music all these years. I'm kind of upset with myself for only having recently discovered the site; there is SO MUCH GOOD STUFF ON IT. First, it was Jeremy Soule's Squaresoft Variation, then HyperDuck's Hoy, Small Fry!, then Dummy's (Blake Robinson) Portal 2 Remix, and then the list just got bigger and bigger. Hearing the quality of those first two songs though (and not just the production, but also the artistic talent), inspired me to take an honest crack at submitting a high quality piece of music. I have a lot of really great memories playing Gauntlet on NES with my older brother, mostly watching him play actually; I died a lot. And I noticed that the site has only 1 remix currently for that version of the game, so I decided (probably for some Freudian reason) to relive some of those memories by orchestrating two of the most memorable themes from the game. Hal's original 'Song A' sounded very baroque to me, so I gave the main melody to the Harpsichord for the first run through. I had just finished working on two mobile game music scores (wrote about it on reddit if you're interested), and an 'indie-classical' Waltz for a TigSource Forum Competition; this is probably why I decided to completely limit myself to orchestral instruments (except for the trash cymbal) for this remix, which I've only sort of done once before; this posed so many challenges. This was also my first time transcribing a piece of music (I'm not classically trained), which was a tremendous learning experience; any properly trained musician would look at my sheet music and vomit violently in all directions, but I know what it means. After I was about 95% finished with the transcription, I learned that one can actually just import and export midi files (technologgeeee, watz that?); after a few face palms, I realized that I am really glad I notated and arranged it all on my own. I don't think it would've have sounded like 'me' otherwise and half of the writing process was listening to the original, and adding or removing certain notes/flairs to suit my own taste as well as serve the original song best. So I guess technically, this is my first 'cover/remix' and I had so much fun doing it, so it will not be the last! Here is the song. I hope that it meets the standards of the site. And again, honestly, thank you for all the work you've put into building the community; it's very inspiring as an up and coming game composer and I will be coming back again and again. Wow, I did not mean for this email to be so long. Contact Information ReMixer name: Kyle Preston Real name: Kyle Preston Email: Website: http://kylepreston.com Userid Number: 53921 Submission Information Name of game(s) arranged: Gauntlet Name of arrangement: Morak's Bane (Themes From Gauntlet) Name of individual song(s) arranged: Song A, Song B Original Composer: Hal Canon (Do you guys know what became of him? The only info I've found is here and it's chilling) Thanks again. All the best!

Never heard of this game, but neato source, I like it! Right away I like the sounds in the remix, especially that beefy kick. I'm not a fan of faux-trumpet leads, and this one is sort of vanilla but it works. The soundscape is really lush and you've added nice details and candy. The arrangement is plenty similar to the source, no problems there for me, but the arrangement is... odd. I think the track is too long overall. Parts get repetetive, for example in the intro, once the groove gets going at 0:24, the same pattern plays twice until 0:56 without any significant additional elements or writing variation. At 0:56 we are already into a breakdown, then at 1:20, the same melody plays again twice until 1:52. Another little mini-break, then the same melody again from 2:00-2:16, granted this time there is more to the soundscape. Now I've heard the exact same transition sweep three times. At 2:20, an extended breakdown begins. I like the ocean sounds, but I feel like this breakdown goes on too sparsely for too long (2:20-3:30)(and followed by the same transition sweep), and I'm starting to feel a lot of stop/starts in this track, and it feels awkward. You've used the same transition sweep in the track too many times to count. Way overused. The track seems to end at 6:08, but then the ocean sounds and EP from the breakdown begin again, this seems unnecessary after such a final sounding outro. This track sounds good, mixing is good. The sounds are a bit vanilla but they are used well. But the arrangement I feel goes on too long, and there are too many oddly placed breaks and awkward transitions. The melody writing is simple and not heavily interpreted through much of the track. If you were to cut some of the more repetitive sections of the track in half (such as the sections with two identical playthroughs of the melody), cut the long breakdown shorter, and remove some of the awkward breaks and instead transition the parts together better, this would be a winner! NO (resubmit)

Remixer Name: APZX Real Name: Austin Simons E-mail Address: User ID: 30429 Game Arranged: Out Run Name of Arrangement: Song Arranged: Passing Breeze Additional Game Information: Out Run's original composer was Hiroshi Kawaguchi. A quick link to the original in case anyone is not familiar with the original track, Passing Breeze My first encounter with Out Run was actually a demo on the Xbox for Out Run 2006 and the track that played was simply fantastic. Now, that there is considerably more information on the internet about things I discovered that there was an original game from 1986 with an absolutely glorious piece of music. I decided one day to just sit down and see what I could do with taking the original and really just make it a bit more my style. ------------------------------------------------------

Might be a bit mid-heavy now, but it sounds to me like the whole soundscape just became more 3d. I hear more detail in all the right places. It is a very busy mix but most everything is audible now. It's borderline too busy near the end but I think the mixing is working much better overall. I'm cool with this. If it still doesn't pass, I recommend taking down the mids by a couple of db. edit: I agree with Larry about the brass, that's what sounds too mid-heavy. Still a pass! YES

previous decision Apart from the title and updated link the info below didn’t change. Also a big shout-out to Timaeus222 who lent me his ears for mixing stuff (and created an alternative mix that I didn’t end up using ). Contact information: Remixer name: Jorito Real Name: Jorrith Schaap Email: Website: http://www.jorito.net/ Userid: 3917 Submission information: Name of Game(s) Remixed: Contra Name of Arrangement: Aliens in my waterfall! Names of songs arranged: Waterfall (https://www.youtube.com/watch?v=U58a-svZok8) and some subtle references in the calm part to parts of Jungle (https://www.youtube.com/watch?v=O04bPRzqEEk) Comments about the mix: For years the music from Konami's Contra (https://en.wikipedia.org/wiki/Contra_(video_game)) waterfall theme has been stuck in my head and I thought it'd deserve a remix. Of course there are plenty of rock/metal Contra covers around already, so I decided to do things a bit differently. A few months ago I finally found the time and inspiration to actually do something with this track, so I fired up my DAW and some orchestral patches and started working on it. I'm not much of an orchestrator, but I like combining different genres and thought injecting a bit of rock would be a good idea. After a few WIPs I offered a demo link to some people at #ocrwip. Ivan Hakštok liked it and offered to play the rhythm guitar. A bit later, I found some nice drum video by Erik Vreven and asked him to play in the drums. Finally, deciding it needed a bit more climatic ending I added in a MIDI lead guitar, decided a real guitar would immensely improve things and asked Sixto if he would play a bit of lead guitar. So there you have it, a full on rock/orchestral take on Contra's waterfall theme combined with some (not so) subtle references to the level 1 "Jungle" theme in the calmer parts of the song, featuring the following guest contributors: - Ivan Hakštok (rhythm guitars) - Erik Vreven (drums) - Sixto Sounds (lead guitar) Cheers, Jorrith

"It's disgusting, revolting, and even a little offensive how multi-talented Jordan is" Yes djp, that covers it nicely. Ok so this is the first time I've heard the UPDATED version, just when I thought it couldn't get any better, it did. *gives up music forever and walks away from Cubase*

Larry, ok so I was getting ready to call you out on having cotton in your ears... but when listening to this track at extremely high volume as you suggested, I do hear the hiss you are referring to. That's a shame, and there is a hiss inherent in the piano sample. And while I just learned something valuable about listening at louder volumes for judging issues, this isn't a track I would ever BLAST at loud volumes! At normal listening volume, it sounds very clean. I find the mixing to be very clean overall. This track has plenty of source and the arrangement is so darned lovely that it brings me to tears. Love it. YES

Now that's what I'm talkin' about! That middle section was such a huge missed opportunity, now it is COOOOOL. That's the stuff. All other issues I mentioned have been addressed. You made a very good 3d soundscape. This is epic now, I'm super loving it. Putting it in my favorites folder. Just a note for next time... the synth you chose for the final solo is indeed a bit plain but the writing is great. Next time why not experiment with a patch that has some delayed vibrato or some type of modulation that evolves over time, and then apply some other evolving effects too... WOW you'd have something really dynamite there. YES