Chimpazilla

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)

First off, source use is obviously there, nice blending of the sources, source aplenty. Interesting concept, metal made from SNES samples. I'm not sure it is working here. The timbres sound harsh and dry. I hear some delay but it still sounds dry. Everything is played staccato style for the most part, and the mix is overly bright, feels hyped in the mids and mid-highs. From 1:59 to 2:21 the soundscape is packed solid with too many sounds all with busy writing. That background arp is cool but I find it repetitive as it is used for a good portion of the track. There isn't a lot of dynamic range in the track and I find this mix fatiguing to listen to. Sorry Nathan, your arrangement and writing are great, lots of fun details, but I just think the instrumentation isn't getting the job done the way it should. Maybe if it were mixed differently? I'm super curious to hear what others think. NO (resubmit)

I am listening to all three sources and I will do so a few more times, but it is tricky to recognize them very well in this mix. The first two sources are fairly ambient. The third source has some lead writing but I'm not recognizing that lead writing in the mix. The lead writing that IS in this mix I'm not recognizing at all. A source breakdown would certainly help here. But source aside, I have to agree with Jivey that the mixing is off. The leads are very loud at some points and stick out badly from the soundscape (like the lead at 1:39). The lead sounds are extremely generic too, lacking any interest or modulation. The drums feel a bit forward too, especially the cymbals/hats that appear on the left. Also agreed the mix sounds overly bright and a bit clippy here and there like the master limiter is driven too hard. The bass is indistinct and muddy, washing out the low end and taking up headroom. Starting at 3:02 and all the way to the end there are too many similar sounds playing at the same time and in the same frequency range, making that section overly busy in writing and sonically fatiguing. I like the glitching and some of the ideas you have going. Arrangement is drawn out and feels long (and it doesn't help that I can't identify the sources), but the ending is nice. A source breakdown would really help. But mainly the mix needs a pretty major mixing overhaul. NO (resubmit)

You guys are poopy-heads with no sense of humor, also Larry you smell. Haha I'm not crushed if this goes no, I did it really quickly, compo-style, and I do realize how silly it is. Dang, this sat in the inbox so long, I forgot that I used the now very-outdated Doge meme in my writeup. (ain't gonna be no resubmitting happening here, it'll just hang out on my Soundcloud)

Molgera is complete and just entering the final polishing stage.

This mix is absolutely super. "Radio ready" is a great description. Just the right amount of Deadmau5 here. Vocals are quite good, subtle well-used autotune really completes the vocal-scape. Awesome arrangement, mixed to perfection. I'm HUGELY impressed.

Hey! Here's that mix that has been on the shelf for months. I kept meaning to sub it and had to put it off, because it wasn't done yet, finally here it is. Game: Portal, Portal 2, Cave Story+ (PC) Source: Still Alive (Portal lyrics), Want You Gone (Portal 2), Plantation (Cave Story) Portal 2: Cave Story+ (PC): Composers: Jonathan Coulton, Pixel, Yann van der Cruyssen. I'm linking the "New" version of Cave Story, because it's what I used, and it's the version of the soundtrack I prefer. (Original is a bit too 8bit for me, and Remastered just... dropped the ball so hard IMO) Title: I Survive! Breakdown 0:01 - 0:22 = Want You Gone 0:22 - 0:32 = Cave Story+ 0:32 - 1:12 = Want You Gone 1:12 - 1:22 = Super brutal original riff intended to melt babies straight out of the womb in the most metal manner imaginable 1:22 - 2:03 = Want You Gone 2:03 - 2:22 = Still Alive lyrics from Portal with an original super brutal riff intended to make people with old knees buckle under their own weight in agony 2:22 - 2:53 = Cave Story+ 2:53 - 3:33 = Want You Gone 3:33 - 3:54 = Want You Gone repeating vocal part with lyrics from Still Alive, and the super brutal riff intended to make sure your health care premiums will always be through the roof 3:54 - 3:55 = I'm different! 3:55 - End = Want You Gone It's pretty straight forward, pretty true to the original. The growls are super brutal and sound amazing, but the lead vocals -- I'll be honest -- they were too much of a challenge because the song got written in a key where they had to be too low, the vocal line in general. I might ninja edit their volume down before you guys find this in a year Or at least EQ some of the meat out of them so they sit inside of the song more. The song was inspired by Devin Townsend's Juular stylistically, it's a little too slow though. Especially the beginning drum part, it needed to be a lot faster. Despite all of the things I said here that may be taken negatively about the song, I really like it and think it's totes brutal, I just wish I had better skills. As a final note, this mix was a little old, so it didn't have some of the newer stuff like predelay that I started doing, and I'm a little lazy and decided I'd like to make it more raw and upfront anyway. I use reverb too heavily most of the time so I may take a step back from that in the future. I can't hide bad performances behind reverb and echo forever! Well here we are again, It’s always such a pleasure, Remember when you tried to kill me twice? Oh, how we laughed and laughed, Except I wasn’t laughing, Under the circumstances I’ve been shockingly nice. You want your freedom take it, That’s what I’m counting on, I used to want you dead but, Now I only want you gone. She was a lot like you, (Maybe not quite as heavy), Now little Caroline is in here too. One day they woke me up, So I could live forever, It’s such a shame the same will never happen to you. You’ve got your short, sad life left, That’s what I’m counting on, I’ll let you get right to it, Now I only want you gone. I survive! And believe me, I am Still Alive I'm doing science and I'm still alive. I feel fantastic and I'm still alive. While you're dying I'll be Still Alive Goodbye, my only friend, Oh, did you think I meant you? That would be funny if it weren’t so sad, Well you have been replaced, I don’t need anyone now, When I delete you maybe I’ll stop feeling so bad. Go make some new disaster, That’s what I’m counting on, You’re someone else’s problem, Now I only want you gone, I survive! And believe me, I am Still Alive I'm doing science and I'm still alive. I feel fantastic and I'm still alive. While you're dying I'll be... And when you're dead I will be Still Alive! Still alive..... still alive.... Portal 2: Cave Story:

Greetings OCR! I figured I would follow-up my flood of Sonic CD submissions, with some Mega Man compo goodness! This track comes from Darkesword's Wily Castle Remix Gauntlet 2013 and is a remix of Plug Man's theme (Mega Man 9) and the Moliarty Tower stage (Darkwing Dark NES). This mix was a lot of fun to write and was in a style that, to this point, I hadn't been able to quite pull off. I'm a sucker for juicy funk: complete with EP chords, rhythm guitar, and groovy synths. I think a lot of my previous mixes have jazz and funk influences, but I believe this is my most 'complete' entry in the genre for sure. This track placed well in the competition, garnering my team a first place ranking for the round, so I was really proud that I created something that stacked up well against all the other awesome participants in the compo. My teammate Amphibious said this mix sounded like the theme song for an 80's TV crime drama, which wasn't necessarily my intent, but I think it's a spot-on description The mix itself utilizes the Plug Man melodies a bit more than the Moliarty stage theme, focusing on the two main Plug Man melody parts on the plucked synth instrument and the legato synth you hear around 1:05. The Moliarty stage theme is woven in throughout too - primarily in the bass, but the melody shows up as accompaniment parts in some of the background synth instruments. As I mentioned earlier, I love me some funk rhythm guitar, which I just HAD to have in this mix. I don't play myself, but I was able to cut up and use some from a sample pack I own to create the accompaniment guitar parts you hear. I then filled out the arrangement with some various original synth lines and some accompaniment stabs and gated pad parts. Enjoy! Source Usage Breakdown: 0:00 - 0:04 = Intro 0:04 - 0:20 = Plug Man chords on the EP, original funky synth lead 0:20 - 0:35 = Plug Man chords on the EP, Moliarty bass 0:35 - 1:05 = Plug Man chords on the EP, Moliarty bass, Plug Man melody A on the plucked synth lead 1:05 - 1:36 = Plug Man chords on the EP, Moliarty bass, Plug Man melody B on the new legato synth, hybrid of the Plug Man accompaniment B part and Moliarty melody A on the plucked synth 1:36 - 1:51 = Transition break - variation of the Plug Man chords on the EP, Moliarty melody B on the dancey background synth (that enters at 1:43) 1:51 - 2:06 = variation of the Plug Man chords on the EP, Moliarty melody B on the dancey background synth, original funky synth lead 2:06 - 2:22 = variation of the Plug Man chords on the EP, Moliarty bass, continuation of the original funky synth lead 2:22 - 2:37 = variation of the Plug Man chords on the EP, Moliarty bass, Moliarty melody B on the dancey background synth 2:37 - 3:14 = Plug Man chords on the EP & the dancey background synth, Moliarty bass, Plug Man melody A on the plucked synth lead My Contact Info: My ReMixer name: SuperiorX My real name: Matt Keller My userid: 28286 Submission Info: Games arranged: Mega Man 9, Darkwing Duck (NES) ReMix Name: Lights Out Songs arranged: Plug Man Stage, Moliarty Tower Plug Man: Moliarty:

On first listen, this track sounds cool and moody, and I love the percussion... but I can not make out much source at all. I hear some melody at 1:54, and again at 3:53... other than that, this is going to be tricky. I hope it's there and I'm just missing it. Anyone here know this source, and can ID it in this mix? That'd be greeeeeeeaaaaaat. Also I hear some disharmonious stuff and darnit, fadeout ending. Ggggrrr edit 10/27/14: After spending some more time A/Bing this source to the mix, I still can't wrap my mind around this source, and I can't really hear much in the mix. I have the feeling you altered the melody syncopations and did some interpretations, and they are significant enough as to bury the source too deeply for the mere mortal to recognize. The fact that this is such an ambient source doesn't help matters. Somehow, the melodies need to be more recognizable. When you resubmit (and I really hope you do because I love this), it would be so helpful if you include your own source breakdown for us. NO (resubmit)

Contact Info Your ReMixer name: Feelacanth Your real name: Owen Henson Your email address: Submission Info Name of game(s) arranged: Silent Hill 2 Name of arrangement: Crowded Minds and Lonely Roads Name of individual song(s) arranged: Alone in the Town Comments: It’s been a few years since I last tackled a video game remix, and after trying to improve my own sound through more originals and general growth, I’ve come to realize I’ve missed it. So this is my first completed attempt at getting back into it. My main intention was to keep at least some of the haunting, melancholy feel of Akira Yamaoka’s work while trying to add an extra bitterness to the tune (especially with the drop). This is actually the first time I’ve completed anything in this particular style. I’ve submitted a couple times before under a different name and I wasn’t quite up to par, so I’m hoping my progress since then has made my work more suitable!

Piano sounds stiff and rigid, even the delay doesn't make up for it, and in fact emphasizes the stiffness. Gotta work on those velocities. I'm with Justin though, I don't humanize my note timings on lead writing, with the exception of during chords, then you HAVE to alter the note start times within the chord, otherwise it sounds amazingly mechanical. Little fills are also always helpful. Nice soundscape here, harp glisses are awesome. Darn that stiff piano bugs me. Clarinet at 2:02 is nice, especially the harmony part. My big issue with your musics Argle is that I always find them overly quantized. I wish you would go off grid a little more in your works, add some more groove to your writing. The mixing here is very good, although I would like more string humanization, I really hear almost no swells. Darn that piano. Maybe a sample with a less sharp attack would help take out that stiff bite at the beginning of each note. Still, lovely track, gonna pass it. But please consider these issues. YES