Chimpazilla

Contact Information Your ReMixer name: Aaron Alone Your website: http://soundcloud.com/aaronalone Submission Information Name of game(s) arranged: Mega Man 3 Name of arrangement: Magnet Man Is Made Of Metal Name of individual song(s) arranged: Magnet Man stage theme Your own comments about the mix, for example the inspiration behind it, how it was made, etc: This is an up-tempo, thrash inspired take on the happy-go-lucky Magnet Man theme. I recorded all the guitar parts myself and sequenced the drums. I added a short, dual-guitar solo at the start of the second loop. Enjoy! ------------

Hi, Here is my first contribution to OC Remix, and a tribute to one of the best games ever. Your ReMixer name: Altered Serenity Your real name: Danniel Menot Your email address: Your website: www.AlteredSerenity.com Your userid: 52991 Name of game(s) arranged: Uncharted Name of arrangement: Nate's Theme (Altered Serenity Remix) Name of individual song(s) arranged: Nate's Theme Comment: In my spare time I produce Trance for labels such as Future Sound of Sweden, however video games has always been close to my heart when growing up. Therefore I decided to do my first video game remix, and Uncharted has some beautiful compositions. So, yesterday evening I started this little piece which was finished today. It can also be found here: Regards Danniel ------------------------------------------------- https://www.youtube.com/watch?v=vFeBVoEeIwM

ReMixer Name: Sparkyrogers Birth name: Tahir Rogers Email Address: Site: http://spark717.newgrounds.com/ Game: Kirby SuperStar Arrangement Title: A Quick Brawl Original Song: King Dedede's Theme This idea randomly came to me when I was fiddling around with my drum loops. A DnB remix for Dedede. DnB. Dedede. GET IT? dB Also, I'm kinda new to the concepts of "Mixing and Mastering", so if this doesn't qualify, could you give me some pointers on how to properly mix so I could do better next time? Much obliged... ^^ ---------------------------------

Hi, Here's my submission. Hope you like it. ReMixer name: Space Infaders real name: Gordon Braicks email address: website: http://www.youtube.com/spaceinfaders userid: 47617 Name of the arranged game: Commodore Amiga - The Chaos Engine (World 2-Workshops) or SNES Soldiers of fortune (World 2-Workshops) Name of arrangement: Chaos Engine-Workshops (Space Infaders Remix) Name of individual song(s) arranged: Chaos Engine-Workshops Additional information about game including composer, system, etc. (if it has not yet been added to the site) The Chaos Engine is a top-down run and gun computer game developed by the Bitmap Brothers and published by Renegade Software in 1993. The game is set in a steampunk Victorian age in which one or two players must battle the hostile creations of the titular Chaos Engine across four landscapes and ultimately defeat the Chaos Engine and its deranged inventor. Biography of composer Richard Joseph Prior to working in games Richard had a fleeting career in the music industry working with artists such as Trevor Horn and Hugh Padgham. Richard released one solo single on EMI and was part of the group CMU which released two albums (although Richard was only involved with the second, Space Cabaret [2]) on Transatlantic before evolving into jazz funk band Shakatak. Richard was noted in game audio for bringing "real" voice actors into a game for the first time (Mega Lo Mania), the earliest use of interactive music (Chaos Engine), working with established recording artists (Betty Boo on Magic Pockets, Captain Sensible on Sensible Soccer, Brian May on Rise of the Robots and John Foxx on Gods and Speedball 2), and featuring vocals in title tunes, which was revolutionary for the time. In the late 1980s and early '90s, he produced soundtracks for development teams Sensible Software and the Bitmap Brothers. He is also credited with the soundtrack to the C64 version of the hit Defender of the Crown. He then went on to set up Audio Interactive at Pinewood Studios and, along with composer James Hannigan, helped Electronic Arts to win the BAFTA Award for best audio in 2000 for Theme Park World. From 1990 onwards Richard was a frequent musical collaborator with Jon Hare with whom he co-wrote and arranged all of Sensible Software's best known musical tracks including the soundtrack for Cannon Fodder the GBA version of which was also nominated for a BAFTA in 2000, and is still the only small-format soundtrack to be recognised by BAFTA to this day. In 1995 Hare and Joseph emabarked upon an epic 32 track soundtrack for the multimedia product Sex 'n' Drugs 'n' Rock 'n' Roll, signed to Warner Interactive, however in 1998 Warner bowed out of the games market and their Magnum Opus was only ever released as a limited edition audio CD. After working as Audio Director on Republic: The Revolution and Evil Genius for Elixir Studios (music composed by James Hannigan), both winning BAFTA nominations for Hannigan's scores, Richard moved to France where he ran SoundTropez, a company offering next-technology soundtracks. Richard came from an entertainment family. Brother Eddy is a BAFTA-winning sound supervisor, working on films such as Harry Potter and James Bond. Brother Pat is a director of The Mill which won an Oscar for Gladiator. Nephew Alex is a foley supervisor. Richard's Father Teddy (1918-2006) was a production executive working on, amongst many others, films by John Schlesinger and Alfred Hitchcock. Link to the original soundtrack (if it is not one of the sound archives already available on the site) As the original song depended on the specific moment of the game, there was no fixed arrangement. The added MP3 is an recording from youtube. Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I was a 15 year old boy when I played this game with friends for hours and hours. We liked the music of level 2 so much we kept on playing it again and again. The tune never left my mind. I was looking for a remix on OC Remix and youtube but could not find any. Then I used my own gear (MC-909 / Cubase) to create a remix with the feel of the original. It's a dark industrial arrangement with multiple bass tunes and a strange rhythm. The work Richard Joseph had done was incredible with a Amiga computer and only 4 voices max. As there was no fixed arrangement I took used as a reference a recording of somebody who played the game during some time. I added sound effects, more voices, different rhythms and made an arrangement that fits a 'normal' length. I amplified the parts that I really felt were strong to emphasize. Best regards, Gordon Braicks ---------------------------------------------------------- http://youtu.be/P-CikjBODO0?t=43m18s Chimpazilla note: I'm not sure which is the actual source... the youtube link above is my attempt to locate it. The artist sent an mp3 of his actual source, here it is, but I cannot find it on youtube. The two sources (my link and his) are just a bit different.

This is *still* AWESOMESAUCE. You know who else loves this mix? DARUNIA. I can just see him whirling around to this, the crazy fool.

I find this to be a gorgeous mix, the vocals are great, the soundscape is full and the violin parts are lovely. I think the sources are well represented, I love the new lyrics and the three sources are smartly interwoven. I considered this as a DP... but my main production issue here is I think the vocals are mixed too loudly. This continues for the entire mix and it feels distracting to me. It is probably a very easy fix and will make this a YES from me. (if other judges don't find this to be a problem, I'll flip my vote) edit 12/2/14: lost laptop, unrecoverable files... blarg... well I thought this would be a super easy fix to make this track perfect, but if this is the final FINAL track, it's much too good to pass up. Changing to yes. YES

edit 2/23/15 - DJ Mystix has asked that this track be posted in the normal posting cycle and removed from the album, as the album is going very slowly. Too good a track to have it sit indefinitely. Can't blame him! edit 1/2/15 - Brandon has asked DJ Mystix if this song could be included in his "super secret" album project and DJ Mystix has agreed... (couldn't fit the word PROJECT all the way in the title) YouTube: SoundCloud: https://soundcloud.com/djmystix/never-go-away Vocals: Claire Yaxley Violins: Chris | Amaterasu Lyrics & Arranged By: Dj Mystix Contact Information: Your ReMixer name: Dj Mystix, Claire Yaxley, Amaterasu Your real name: Mansoor Nazar, Claire Yaxley, Chris Woo Your userid: 11757 (DjMystix), 47187 (Princess Clairey), 35078 (Chris | Amaterasu) Submission Information: Name of game(s) arranged: Metal Gear Solid, Assassin's Creed 2, Assassin's Creed 2: Revelations Name of arrangement: Never Go Away Name of individual song(s) arranged: Metal Gear Solid: The Best is Yet to Come Assassin's Creed 2: Ezio's Family Assassin's Creed 2: Revelations: Title Theme Composer(s) : Metal Gear Solid: Rika Muranaka Assassin's Creed 2: Jesper Kid Assassin's Creed 2: Revelations: Jesper Kid System : Metal Gear Solid: PlayStation Assassin's Creed 2: PS3, XBOX360 Assassin's Creed 2: Revelations: PS3, XBOX360 Sources breakdown: 00:00 - 01:00 : Assassin's Creed 2 - Ezio's Family 01:01 - 01:14 : Original Writing 01:15 - 03:43 : Metal Gear Solid - The Best is Yet to Come 03:44 - 04:29 : Assassin's Creed 2: Revelations - Title Theme 04:30 - 05:50 : Metal Gear Solid - The Best is Yet to Come Sources: Metal Gear Solid 'The Best is Yet to Come': Assassin's Creed 2 'Ezio's Family': Assassin's Creed 2: Revelations (Theme): Artist Comments:- Claire Yaxley: I was, of course, delighted for the chance to work with DJ Mystix again. I love the mood he creates with his remixes, and this one was no exception. I got the chance to experiment with a different side to my vocals; a softer, gentler, more vulnerable side. It's completely different to what we've done before, and I'm proud of what we've achieved. Dj Mystix: "The Best Is Yet To Come" is one of my most favorite videogame tracks of all time. I have been dreaming of creating a vocal version of this song for years. My biggest issue was writing English lyrics for the song because I'm not good at it. I finally decided to give it a try and have Claire provide her amazing voice for this. As usual, she has done an incredibly job and far exceeded all expectations I had for this remix. She made the song 100 times better than what I could do on my own. On top of that, Chris's excellent violin skills lifted the mood of the track. His improvisation in the ending sounds perfect. As you guys know already by now that I really like to mix multiple games in a mix Both AC2's themes seemed like a perfect fit for this track. We have really spent a lot of time on this track. Initially, we recorded the song with the original key but it didn't sound very nice so we decided to start from scratch and re-recorded the whole track in a different key. Claire and Chris has done an amazing job her and I really feel super lucky to get a chance to work with such talented people. This is mainly a remix of "The Best is Yet to Come" (MGS). Just wanted to mention this to help you guys decide what game to tag it to IF it gets through the panel We hope you like our effort and enjoy this remix as much as we did while working on it Happy New Year Lyrics: (Not a translation) Dreams of you, so real, so true When holding your hands, I flew.... Stars are bright, the skies are blue I'd love you the whole night through... Near or far, wherever you are, Your love touches me, I feel new... Freeze the time, and make you mine, And always pray, to be with you... Lying to myself, that I could go on, With you on mind, my love would be strong... What will I do, I'm lost without you Crying in my heart, wantin' you You're so far away, but always with me I wander alone, I hope you could see Holding forever, your memories... Makes me smile, sets me free I can't go on, It's been so long How I wish you could hear me say.. You're every thought, you're everything Step in my heart, and never go away... Calling your name, to hold you again It's been so hard, I miss you every day Bring back the time, when you were mine I'm so alone, since you went away I can't go on, It's been so long How I wish you could hear me say.. You're every thought, you're everything Step in my heart, and never go away... MGS: AC2: ACR:

A pretty conservative take on this source, same structure and lyrics, but I love the sounds you used and your vocals are very nice. I have a couple of concerns though. First, this mix is mastered LOUD. It's not distorting, but it is a waveform sausage and lacks dynamics as a result. There's very little in the way of timbre changeups, the instrumentation remains the same throughout, while not a dealbreaker it does make the mix feel repetitive. The mix is drowning in reverb, and for ME to notice that is really saying something (I love reverb). The drum writing gets quite repetitive, I wish at the very least that the kick pattern would do something different at some point... and all the drum writing (with the exception of a couple of fills/transitions) is the same throughout. The kick has a very prominent click that almost sticks out too far against the super reverby soundscape. At 1:53 there is a synth lead that really sticks out and sounds dry against the reverby soundscape, and it takes the focus away from the vocals. I like this mix, and the singing is really great... but I'm feeling like my production crits put me right on the borderline. I'm gonna hold off and see where others feel this is, is that cheating, yeah. edit 11/8/14: Ok, vote time. I'm gonna lean towards asking for a resub and have you reduce the overall compression. I'd also really like a little less reverb, at the very least on the vocals. Maybe the kick's click won't feel so out of place then. I really do want to hear this one back quickly, it's a really nice track. NO (resubmit)

Looks like my last submission, "What We Left Behind," just got posted! Guess that makes it a good time to submit something else, right? Here's a little mix from Sonic Unleashed, with some vocals to shake things up. Yeah, I've got a thing for Sega games. Download: Here's the requested info: Contact Information Aviators Tyler Shaw http://soundoftheaviators.com/ 45323 Submission Information Sonic Unleashed Neverending Endless Possibility Original Song: As much as I'd hate to be labeled as "that guy who remixes Sonic games," I'm back with my second Sonic remix, and second game remix overall. Sonic Unleashed is a game that really left me torn between love and hate at the end; I was disappointed with the game in itself, but the music is freakin' awesome. I mean, the theme song to the game is by Bowling for Soup's Jaret Reddick. I took his uplifting fast-paced theme and gave it a delightful DnB twist here. It's like Pendulum on a sugar rush, with some of my vocals to make things interesting. Original Soundtrack Info: Original Composer: Jaret Reddick System: Playstation 2, Playstation 3, Wii, Xbox 360 OST links: --------------------------------------

This is a decent cover of Aquatic Ambience, and a good start on a remix, but ends up being much too simplistic and repetitive for OCR. I'm paneling it because it is a really good structure for a great remix of this source, and I'd love for the artist to get some additional advice and suggestions from us. The synths used are very simple, the drums sound like a loop, bass is almost nonexistent, and the track lacks dynamics and surprise, but yet there's promise here, the arrangement is good. Much more stuff could be added, for example in the soft breakdown, some unique soloing or sfx or ear candy etc. As it stands now, the breakdown is really boring, but could be filled with subtle yet exciting stuff. The long empty stretches such as 3:55 could have some unique soloing added over the top of what's there, add some drum changeups, additional timbres and sfx etc., and bingo, you have something really cool! The production of what's here is really not too bad, balancing could use work, drums and bass are really soft for example. The lead at 2:27 is really very simple and plain, that would be an opportunity to add interest with an evolving timbre, something with some vibrato perhaps or another interesting envelope, or add a countermelody or just other aspects to keep the audience entertained. Maybe make one epic section with some fun wild soloing before the outro, perhaps. Take this to the next level, let's see whatcha got! NO (resubmit)

Remixer : Hxboy9 Name of game: Donkey Kong Country Name of arrangement: Deep hidden coves song: Aquatic Ambiance Genre: Progressive Trance -------------------------

Oh hey, I remember this track, and these two themes! *thinks fondly back on FFCC compo* I really love how you handled Penelo's theme, with the rhodes and staccato strings, and the synth lead. All the Penelo parts of this song sound terrific, and the production is up to your usual standard of excellence. I'm sorry you got stuck with my Edward theme as your second source though, because Edward really feels forced into this arrangement and has an awkward/uncomfortable feel, sorry to say, it makes for quite a disjointed overall arrangement. Once you return to Penelo with the piano and strings, the arrangement is once again stellar. I would love to hear this song again, with the Edward portion replaced with other aspects of the Penelo theme, I'll bet that would be just dynamite. The Penelo theme has five (iirc) separate sections to choose from, lots of material there. NO (resubmit)

I have to vote no on this mix simply because there is no recognizable source use until 2:39, then it is over by 3:30. There needs to be some reference to that melody way before then. You can find unique and varied ways to bring that melody in, using synths or whatever, it could be brought in right over the soundscape you've already got here. We need to be able to identify the source melody in a minimum of 50% of your mix (but it's always a good idea to shoot for more). What you've got here sounds great! I love the 80s feel, and your production is really nice. My only concern is when the guitar comes in, it feels like it's in a totally different space from the crisp synths you have going. You've got a lot of reverb on the guitar, making it feel more distant than a lead should sound, maybe that's it. At 2:39 when the source motif begins, the hats and wide-panned synth are much more upfront than the guitar, and that feels a little odd. Otherwise I really like this production. Please find a way to bring that source melody into the rest of the song, at least prior to 2:39, one extra shot of motif in the final section wouldn't hurt but may not be necessary. I really like this. NO (resubmit please!)

Hi dear folks of OCRemix Contact Information Your ReMixer name : Videl Your real name : David Michel Donais Your email address : Your website : N/A Your userid : don't have one Submission Information Name of game(s) arranged : Doom Name of arrangement : Escape From Phobos Name of individual song(s) arranged : At Doom's Gate Additional information about game including composer, system, etc. : Already there Link to the original soundtrack : Already there Your own comments about the mix : I just started playing the doom riff on my guitar for the hell of it (pun intended) and I was looking for a project to start because it was the holidays and I had nothing better to do. Since I'm a big fan of 80s synth sounds and the whole recent movement of modernizing it I started playing around with the theme and merging it with various synth chords and progressions. The initial project I made was incredibly awful so I started over and this was born and I'm pretty happy with the result. --------------------------------------------

I have to agree with you Flex, who paneled this thing anyway... *ah yes, me* dammit. Well, in my defense, I'm unfamiliar with these themes and wasn't totally getting the source usage initially, so I felt more comfortable paneling it. Production-wise, I'm with Flex and Jive, I have no crits. Very nice blending of these themes, *very* subtle at times (hence my need to really listen to these sources), but smartly executed. Nice arrangement, super funky, a couple of extra surprises could have been fun but if that's the worst thing I have to say, this is a pretty darned good track. YES

Yeah I think that's an open hat, and I agree it is too prominent and loud. Also, I feel like the bass timbre's upper end conflicts sometimes with the other instrumentation, at 0:47 the bass crunch against the lead synth almost sounds distorted. I hear this issue in the densest sections, such as 0:47-1:16 and 2:18-3:13 and 3:16-3:45. Not a huge problem, just something I noticed. That upper end could be eq-automated down during the densest portions, that would help. The arrangement repeats itself, but you've added some sweet changes, solos, etc. keeping it fresh. I love the guitar solo, kinda wish there was more of it. Honestly I don't know these themes and I still need to really examine these sources. I'm going to do that before giving my final vote which will be YES. edit: silly me, I had the wrong source linked for the ending credits theme, no wonder I didn't recognize it, we all good now. Rather smart integration of these themes, respect! YES

Again, my and Redg's Molgera track is complete, Redg is doing the final mixing and mastering. Our next update will be the completed track. I'm hoping he will be done soon.

Contact Information ReMixers: Xyless, 194 Real Names: Jacob Tjolsen (Xyless), Carlos Godoy (194) Email Addresses: Xyless - , 194 - Website: http://www.jtjolsen.com User IDs: Xyless - 31060, 194 - 48785 Submission Information Name of Game Arranged: Phoenix Wright: Ace Attorney Name of Arrangement: Tranquil Turnabout Name of Songs Arranged: Pursuit ~ Cornered The idea came by accident. We were working to make an original melody (with a panflute instrument at the time for experimentation) when we realized that we had just made the first few measures of Cornered instead. The usually-epic and tense lines of Cornered made smooth, almost sad, by the slow rhythm and the terseness of a panflute. I, Xyless, sent it to 194, and he quickly came with a guitar line to accompany it. Over months, we added more and more to the song, while trying to keep it rooted in a sort of minimalism that allowed each instrument to have its own strength in the piece, not to mention make it different from the rest of the Cornered remixes available that took the song to a more intense, high-energy pace.

Your ReMixer nameL ectogemia Your real name: Nathan Becker Your website: soundcloud.com/ectogemia & facebook.com/ectogemia Your userid: 13080 Submission Information Name of game(s) arranged: Gunstar Heroes Name of arrangement: "Boiling Point" Name of individual song(s) arranged: 'Stars Too High' Additional information about game including composer, system, etc. (if it has not yet been added to the site) Link to the original soundtrack (if it is not one of the sound archives already available on the site) Your own comments about the mix, for example the inspiration behind it, how it was made, etc: Do you think it's chaotic enough?

Devin Joshua Morrison Devin Joshua Morrison devinjoshmorrison@gmail.com soundcloud.com/devinmorrison userid: 47765 Submission Information Dead or Alive 4 (Xbox 360) I'm Ready (Kasumi Theme) Remix Purity (Kasumi Theme) Genre: Fighting; Platform: Xbox 360 http://deadoralive.wikia.com/wiki/Purity This remix was made as somewhat of a tribute to one of my favorite YouTubers/Gamers, sWooZie who is a fellow Orlando, FL native. He is known to be one of the best DOA fighters in the world having won tournaments and such. With this arrangement, I wanted to showcase versatility. Not many too many compositional devices like retrograde, diminution or augmentation were used. However, there is some transposition, "synthetic modulation", and repetition used absolutely. The track itself starts off Drum and Bass and then goes into bass rave, then to a "refrain" so to speak to where the arp and pads filter in to introduce the next section. Then comes the sound of Kasumi laughing (taken from a cut scene from Dead or Alive 2 Ultimate). then the famous "Get Ready" phrase from the DOA series, then the sound of Ryu Hayabusa plummeting down to attack Kasumi (taken from Dead or Alive 2 Ultimate as well). Composition-ally, the Dubstep section functions in accordance with Kasumi's will to fight back well and defend herself without wanting to. Thank you for the opportunity! --------------------------------------------------------------------- Devin Morrison, Composer

Avaris Shaun Wallace NEW Website: http://sonic-elements.com/ Song: Title: Eclipse (Categorize it under FFIV) Sources: FFIV - Cry in Sorrow FFXIII - Sazh's Theme Made this track for the Final Fantasy Crystal Clash compo: http://ocremix.org/forums/showthread.php?t=45311 This was an insanely hard song to integrate the two themes. Sazh's theme was converted from 11/8 into 4/4. There are also some complex sections music theory wise. Fro example the legato passages in Sazh's theme. I used the FFIV theme as a basis to integrate Sazh's theme. These integrations and ideas then had to be arranged to fit 16 to 32 bar sections of a dance track. In the beginning this song was difficult to write, but as it came together I actually really started to enjoy the fruits of my labor. Sazh's theme has such a catchy bass line. Its quirky melodies worked well juxtaposed to the somber melancholic themes of Cry in Sorrow. In the end it was a track I felt was enhanced by the integration of the two themes instead of crippled. Happy holidays! ----------------------------------------- Cry: Sazh:

Remixer: Rozovian Yo joojes, #21613 finally subbing something again. "Dragonfireplace". It's a little more festive than Dragonfood. Sources: Witchmakers, Weird Counterpoint from Seiken Densetsu 3. NOT part of the sd3 project. I made the stupid decision of choosing a mostly non-electronic direction for the sd3 project before I was actually any good at stuff that wasn't blatantly electronic. This was a nice departure from trying to mix all the world instruments and acoustic drum samples and guitars and whatnot I've gone for in my project mixes. (Coming soon. Very soon.) For the past few years, I've always remixed something Mana-related for AOCC, sort of as a little promotion thing for the sd3 project, and I suppose to keep mana fans over at seikens.com and possibly other mana series fan sites interested in what ocr's working on. I've exhausted the most obvious winter sources already, so now I went for the theme of the summer-y Altena in the Snowfields, along with that of the nearby Dragon's Hole, for something vaguely winter-related. The latter inspired the name. Shoutout to zircon for his complextro tracks which inspired the style, even though my take on it doesn't quite resemble his. My production is a bit harder than my usual stuff, which might be a good thing. We'll see. I somehow suspect this won't get posted this year. My last winter track got posted in July. Instead of wishing anyone a merry xmas, have a nice summer instead.

Contact Information Username: timaeus222 Name: Truong-Son Nguyen http://soundcloud.com/timaeus222 http://tproductions.comeze.com/ ID: 39971 Submission Information Games: Final Fantasy XII (Penelo), Final Fantasy IV DS (Edward) Remix Title: Crystal Gradient Console/Platform: PlayStation 2 (XII), DS (IV DS) OST Composers: XII: Hitoshi Sakimoto, Hayato Matsuo, Masaharu Iwata, Nobuo Uematsu, Taro Hakase IV DS: Nobuo Uematsu Sources: Attached MP3's. Composed in FL Studio 11. Remix: Right here, MP3 VBR1. And the WAV. Comments: "Well, this was written quickly. I didn't really have more than 2.5 days total to work on this for the Final Fantasy Crystal Clash, but I'm still proud of this result. It has that Diggi Dis Wild Arms sound, plus some zircon ambient flavor, making this one of my most organic mixes to date. Fun fact: the name was inspired by Calculus and Inorganic Chemistry (Crystal Field Theory + Gradient Vector = Crystal Gradient). At first, I didn't exactly feel up to the challenge of mixing two seemingly incompatible sources. When I heard Edward's theme, I was quite literally raising eyebrows and wanting to flip tables. It's just a harp playing two super long arpeggios, and I found the implied chord progressions to be all over the place. I chose Penelo's theme with the hope that its chord progression could be re-adapted to fit most other sources. Fortunately, though barely, I was able to tweak some things and make this work with Edward's eccentric harp song. I think you'll find that the chords I used are very specific, and that few others might have actually worked. It was down to the wire with this one, and I literally wrote and mixed the last 75% of the arrangement on the last possible day I could have had time to do anything (Saturday), but I'm glad this idea came to fruition. Source Breakdown: 0:00 - 0:22 = Penelo 0:22 - 0:39 = Penelo 0:39 - 0:42 = Edward (Sine Wave) 0:41 - 0:45 = Penelo 0:47 - 0:51 = Edward (Sine Wave) 0:51 - 0:54 = Penelo 0:56 - 1:11 = Edward 1:11 - 1:26 = Edward + Penelo (Sine Wave) 1:28 - 1:45 = Edward 1:45 - 2:01 = Penelo 2:02 - 2:05 = Edward (Sine Wave) 2:06 - 2:10 = Penelo 2:10 - 2:13 = Edward (Sine Wave) 2:11 - 2:19 = Penelo 2:19 - 2:32 = Penelo 22+17+4+3+15+16+4+8+13 => 102/152 secs Penelo 3+4+15+15+17+3+3 => 60/152 secs Edward There are overlaps, so these percentages are with respect to the entire track. 67.11% Penelo 39.47% Edward - Timaeus" Extra Info: This may be a lil short, but eh, what can I say? 75% of the arrangement and mixing was done in 12.5 hours. xD Also, Brandon apparently really wanted me to submit this, so I did. Penelo: Edward:

Lots of dynamics in this track, in fact too much... the first section hits almost to 0db, then at 0:34 suddenly we are down at about -20db and I have to strain to hear it. I think a little more stable volume would be preferable as this feels awkward. The track remains really quiet until 1:38. The big crescendo at 1:57 is awesome though, there are some really neato ideas in this section, including the new time signature that I can't even figure out, and the moody dissonant seconds on the brass which I love. The solo violin sounds really good, the flute and harp glissandos are nice. I am enjoying the instrumentation throughout the track. The final outro section at 3:30 is again too quiet, and seems a bit detached from the track. I find the writing/arrangement in this mix really good, plenty of source for sure. The mixing is working well enough. My biggest gripe is the super quiet sections. Ideally, I'd love to have the volume of those two sections brought up somewhat. I can't decide if this is a dealbreaker. Anyone else? edit 11/7/14: I'm gonna go ahead and ask for a resub, those quiet sections are too quiet. If the low volume section were only a couple of seconds long, it would be ok, but the quiet sections are both rather long. Just bring those two sections up so there isn't such a huge disparity in volume. The quiet sections should still be softer than the rest, just not -20db soft. As Jive said, this has "YES" written all over it after this fix. NO (please fix volume disparity and resub)

Very nice mood and soundscape established here. The mix is super conservative compared to the source, the writing and instrumentation are very similar (mallets, flute, harp). Unfortunately this is one of those tracks that is sparse enough that it can't hide the mechanical nature of the sequencing, this is the type of track where very careful attention to velocity and/or note-timing variation are important. The mallet arp has been recycled over and over again, as has the harp melody pattern (there is one off-timed note that appears again and again whenever the harp plays melody, at 1:04 and again at 3:44). The Uilleann pipes sound super mechanical, and at 1:48 and 2:05 it sounds like they are playing just at the lowest border of their capacity. The flute never takes a breathing break. The strings sound very quantized and mechanical. Mixing-wise, I think things could stand to be cleaned up a little, the sounds could use a little frequency optimization with eq. Sometimes the track gets surprisingly loud (like at 2:28 ), I'm not sure what that's about but I find it uncomfortable. I feel like the arrangement is very conservative, I'd love some additional melody or background variation, but mainly it is the quantized mechanical nature of this arrangement that is pushing me toward wanting to request a resub. NO (resubmit)