Audiomancer

Xaleph is correct, everyone should have khs essentials, there's a lot of good stuff there. It's weird, some vst's don't automate well, even if they sound good otherwise. FL Studio's Flangus is a good example. Also, I have tried using FL's peak controller to automate the fruity balance plugin, and that works horribly...just like described in original post..nasty latency and sound. Trial and error is sometimes involved.

what kind of flute is it youre playing?
 

I like the spirit of the arrangement, the flute playing and rhythm  progression.
But it's short, it needs more development. Notably, you can add intro before the main melody. And also an outro. I find the ending too abrupt. 
The synthe between 1'30 and 1'50 is a little too loud for me.
Guitar sounds good, but it will much better with a real player. As for flute, if it's possible for you to record this.
 
 
 

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WOW, this is night and day improvement from the previous version.  Great work cleaning that up!  I really feel like the biggest improvement might have been making it mono, but nevertheless it sounds great!

Ship it!

Here's the update!
https://drive.google.com/file/d/10UJIB4lWUjxxYRQdVgHicA4VQ7QxG-lk/view?usp=drivesdk
 
So I altered the bass by separating the acid sounding arp from the meat of the bass, they were indeed one instrument. The main bass is now two triangle waves, one an octave higher than the other. The NES used those for it's bass channel, I figure it might be because of fewer harmonics to interfere with other instruments? I altered the decay and sustain to try to bring more punch to the instrument without increasing it's volume. I also brought it to mono. The acid sounding instrument is now separate, and I lowered the lower frequencies of it as well as adding a high pass filter. Also, I filtered some of the lower frequencies from other instruments in the arrangement. Hopefully some of this helps, and thanks ahead of time!
 

I think the sus chord to the major chord at 40 seconds in is good, and sets up the following section nicely. Since it's boss battle music, tension is perfectly acceptable, IMO. The only thing I might add to that section is a percussion buildup that reaches it's climax immediately following the major chord at :40. You have a hit at that point, but perhaps a buildup during the sus chord and major chord would add emphasis? I'm not the most experienced writer, so consider that:)

Count me in:)

Count me in:)

Here is my small contribution:)
 
BLORGx_4.flp

Yes I do! This sounds like so much fun:)

Yes I do! This sounds like so much fun:)

At 1:30 instead of just staccato flutes playing the ostinato you could double them with oboes, and then clarinets and bassoons doubled down the octave. If you're brave enough you can try some other intervals here (3rds and 6ths).
One thing I like to do is double winds with light harp plucks for added definition and color. Might be an option here.
The horn here (or is it a trombone) is kind of lonely. You could double it down the octave with tuba.
The timpani hits could be doubled with cellos and basses playing staccatos in octaves (I often use spiccato patches for this.)
You might start to notice a pattern in my suggestions. While the structure and composition are good, the main focus of orchestration should be on color, in which case unison/octave doublings are your friend.
At 1:50 you will want more of a build to the next part. You could do a brassy swell here in C minor.
At 1:53 the violins are too light. You'll want a marcato patch with a strong attack here.
Here you can also thicken the brass harmonies with some 3rds. Think of these as Bach-like organ chords.
At 2:05 you will likely want this quick melody to be doubled across all the strings and winds, and piccolo as high as it can go.
At 2:25 the doubling here is good, again piccolo should be doubling at the high extreme. If you have bass trombone it could double at the bottom. For definition you can add xylophone strikes. Another possibility is brassier trumpet "stabs" if you have the samples.
At 2:40 the violins should be doubled down the octave in the 2nd violins and violas, maybe even cellos. They can be additionally doubled by winds and/or horns.
The trombone at 2:44 sounds like a solo patch. Do you have ensemble patches? If not I would recommend octave doublings.
An instrument often overlooked in orchestration is the piano. Low piano octaves can really enhance your bass instruments for pretty much the entire piece. They double low strings, low brass, and sound great doubling timpani hits.
Another color you could add is the harp glissando. They work especially well to fill in gaps. For example, at 2:25 you could have A minor glissandos filling in the spaces between the rhythms.
Let me know if you would like more suggestions.

It allows 14. I handed the different parts, minus the bass,  around the different "machines" placed in the app. I wanted to get a little bit of a feel for each one...and each of them are stripped down versions of full synths, such as a saw, FM, subtractive, etc. It's  called Caustic, and it is free to try, minus export and saving on Android. There is also a version you can download for windows which is completely functional. 
It's a fun thing to doodle with, and I think it will help me learn on a full DAW as well:)

That synth is awesome:) I liked this a lot:)

There's a DAW called Cakewalk? I wasted a whole lot of money...
ANYWAYS! I like this new direction. Energy and spunk, punctuated the breather segments and that oh-so-nice minor movement with the organ. Seriously, high-five for that part alone. It flows nicely back into the bold, brave, and peppy mood of the beginning, and I'm quite fond of your melodic variations with that last 45 seconds-ish. Nice work on this piece!

Sounds like wrong key in bassline at 1:17... (G# instead of G).

This is the thread for questions, opinions, concerns, complaints, suggestions, and discussion about the Workshop and everything going on here. We're starting fresh with a new, empty thread so we don't have to edit the previous thread. For those interested, here's a link to the old one.
This thread will not be stickied/pinned to the top of the board. We're trying to avoid having too many stickied topics from now on. This thread will climb to the top of the regular threads when there's something going on, and will disappear down the list of threads when it's not being used. Links to it will be found in the pinned threads.

Yes, that is normal.

Disclosure, I is noob:)
 
Cakewalk is now free. It used to be a program you used to have to pay for, but through foreign corporate acquisition, you can get it as "Cakewalk by Bandlab", free. You'll have to set up a Bandlab account, and then the DAW is yours. LMMS is also free, but it's VST capabilities are horrid. However, it's built in synths and soundfont support are awesome. There are VST's for SF support in other DAWS, but LMMS seems to do it the best and most consistently. You can always use both:) If you don't like them, you are out zero dollars.
VST's are important, that's where you'll get the most of your sounds, and there are many good free ones out there for beginners, like us:) It's great we live in a time and age when we can get our feet wet for free. I've not paid a dime for anything, and I think my stuff keeps sounding better and better through practice with the tools I have. Full disclosure, I'm not posted on OCR yet (I hope it happens), but I'm working on it, and I have made it a mission to do so without paying anything, so that everyone else knows that it can be done for free, also.
 
TL;DR. You can try Cakewalk and LMMS for free, and they both have their strengths.

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Lot of good stuff going on here. I haven't heard previous versions, but I think you might be ready to toss this up to the panel. The only thing that bugged me a bit was the presence of the drums and some of the bassy tones throughout the whole piece seemed to be burying some of the more important parts - I know that's miserably unspecific, but it was more of an overall feel of the piece than anything else. I marked it complete because the headphones I'm currently using are definitely more on the bassy side, so I think you're pretty solid on this one. Good luck. 

This has a nice ethereal quality to it, sounds nice:)

I've made many changes since my first posting:)
 
Version submitted first
https://drive.google.com/open?id=1nHURd09pcMxso4k32o9CuwqUvuTeNww-
Latest version 11-7-2019, second submission
https://drive.google.com/file/d/18Bv8PRVMqUlDu1CxRpIjNQtLMXxhfbq5/view?usp=sharing
 
Latest Latest version 12-24-2019
This is pretty much completely different, it's something I have been working on under a different name for a short while. The original idea of this tune has gone through the grinder a couple of times, and it was gently suggested that perhaps a different tack might help. My VERY first attempt at Epic FootSteps actually incorporated both walkabout themes from Dragon Warrior 2, and this new version is the second walkabout theme, as opposed to the first. I also add that this is obviously not close to completion, I'm looking for some feedback;) I haven't fiddled with EQ/Mastering yet. I also ask that it be listened to with something that uses ASIO for playback. On my pc, for reasons I have not been able to fathom, playback done with any normal media player sounds MARKEDLY different, in EQ and stereo image/spectrum...and I have tried all solutions googled and asked about here on these forums:)
This version is not done with LMMS, as the previous version, and I have installed a few different VST's
Original Second Walkabout theme
Latest version 12-24-2019
https://drive.google.com/file/d/1TMV-pYLpCklO0ZdRx99wiVb8HdT5tAvS/view?usp=sharing
 
   
 

Alright, so sorry for taking so long to get to this after your request, Audiomancer; work has given me little space to work with.
EVAL
Dragonquest - a classic series that doesn't get enough love, that's for sure. I'll say this first: for the most part, the production is fairly good. The mixing is generally where it needs to be, and I don't hear too much crowding, so nice work on that. The arrangement would probably cause some issues for an OCR submission, since this sounds like two very different songs put together rather than a single, cohesive experience, and I don't think the songs are expansive enough to count as individual arrangements in their own right (really just playing through one loop of the source each, if I'm not mistaken).
I hate to come down on instrument quality since understandably not everyone has the money to fork for better instruments, but I can't deny that many of the instruments in this are too low quality to pass the panel. The organ is pretty solid, the choir can work and the square waves are... well, square waves (they're fine), but the other instruments definitely felt low quality. One can still make them work with a LOT of envelope manipulation (e.g. automating the attack, delay, reverb, levels, etc., to make them sound more "real"), but it would be crushingly difficult to do so.
What you have here is really cool, but it's difficult to write orchestral music with cheap or free instruments. It's not impossible (Darkesword does a pretty good job with free soundfonts, iirc), but it's very tough, so be prepare to learn how to automate the envelopes of your samplers in order to get the most out of your instruments, if you want to keep going down this route. Alternatively, you can take a more hybrid approach (which is how I like to do things, personally), and utilize more synths and such - make something sound intentionally fake rather than emulating reality. More than one way to approach this, but yeah, if the arrangement didn't hold this back the instrument quality would get this rejected on the panel.
Again, though, the production quality (clipping, mixing, etc.) is pretty good here, so I think you show off some solid skills with this. This wouldn't pass on the panel, but it does help illuminate what does and doesn't work, as well as why. I do hope to hear more from you sometime, even if it isn't this track, per se.
Hope this helps!