The Nikanoru

This is more of a remake then a remix, but it sure sounds good.
I like the tone set by this. It's a little bottom-heavy on the EQ, but I don't think that's a problem in this case - I like that boomy drive and the lead with a tad more reverb and a tad less volume is quite effective, IMO.
However, it's a loop and becomes repetitive quickly. I think what this is missing is a screamin' lead guitar solo at 1:34 and an epic ending of some sort...

Yeah .... I think this is good. I can hear good panning on most things, decent mix, and nothing seems out of place. There still a lot of 'space' in the song, but it matches the original tone of the track, IMO.
If you're confident, tag this thread as 'eval' so you can get a good check-over by a judge before you submit. Great work!

This is more of a remake then a remix, but it sure sounds good.
I like the tone set by this. It's a little bottom-heavy on the EQ, but I don't think that's a problem in this case - I like that boomy drive and the lead with a tad more reverb and a tad less volume is quite effective, IMO.
However, it's a loop and becomes repetitive quickly. I think what this is missing is a screamin' lead guitar solo at 1:34 and an epic ending of some sort...

This is a pretty cool start. The style kind of makes me think of the Strokes.
Be careful with notation when transitioning. You're trying to perform a song in a major key which was built in a minor key - I'm hearing conflict @ 0:43.
Aside from that, I like what I hear. Waiting for the rest of it!

This is more of a remake then a remix, but it sure sounds good.
I like the tone set by this. It's a little bottom-heavy on the EQ, but I don't think that's a problem in this case - I like that boomy drive and the lead with a tad more reverb and a tad less volume is quite effective, IMO.
However, it's a loop and becomes repetitive quickly. I think what this is missing is a screamin' lead guitar solo at 1:34 and an epic ending of some sort...

There was a recent discussion of ads for OC ReMixes on YouTube that some of the staff here MIGHT have heard about.
I've done a little bit of browsing and investigation and noticed that OverClocked Records has very little - if any - advertising presence outside of OCR itself, aside from a few articles that are two years old. Heck, there's no advertising on the OC Records site itself either. This seems counter-intuitive, considering how much advertising there is for OCR.
Is there no appetite for advertising this awesome music elsewhere, or is there a cost/legal restraint, or has no one thought about this because they are too busy with other things?

There was a recent discussion of ads for OC ReMixes on YouTube that some of the staff here MIGHT have heard about.
I've done a little bit of browsing and investigation and noticed that OverClocked Records has very little - if any - advertising presence outside of OCR itself, aside from a few articles that are two years old. Heck, there's no advertising on the OC Records site itself either. This seems counter-intuitive, considering how much advertising there is for OCR.
Is there no appetite for advertising this awesome music elsewhere, or is there a cost/legal restraint, or has no one thought about this because they are too busy with other things?

This is good. Sounds much cleaner, and I really like what you did with the SFX in the beginning.
All it needs now... is more cowbell. Right @glasfen?
 

Hmmm. This seems like it's more of a medley of Summer Lovin' and the Legend of Zelda theme more than it is a remix.
It's simple and neat, but pretty basic. There needs to be more to this - Tell me more, tell me more!
'La celda gris' ('The Grey Cell'). What was your inspiration for this name? Just curious.

Jake Kaufman is virt, and although he is not actively involved in OCR anymore, he does have some tracks posted here. Not this one, though.
You CAN find it on the Dwelling of Duels website, as this was part of their monthly album thing back in 2004. You can find it here:
http://dwellingofduels.net/duels/04-07-zelda/

What you called a matched EQ is in fact a global EQ. I just moved a lot of things between V4 and V5, and I realized this morning that I had put an EQ on the main track, killing the ultra highs and the super lows.... That was stupid, at least for the highs, so I corrected it after listening to the V4 and V5 one after another. Wait for it in V6!  
For information regarding my guitar tracks, there is 6 guitar tracks (Rhythm L/R, Solo L/R and Clean L/R), each one having their own FX and EQ. There is also a track for both guitar of each type, just for mixing purpose, but not EQ in here!
That was the kind of things I thought about when I read your message, so I changed the EQ of the rhythm guitars, scooping some mids to give a more compact sound (plus the hi boost, it is a rather significant change). I am not sure it was what you were thinking about, but you'll hear and you'll tell me. I love the leads sounds (solo playing guitar sounds), so I won't EQ them if it's possible. I feel changing the sound may break the flow of the sequencing, feeling natural but being just Shreddage
But I may boost them if I manage to find some room! 
Regarding EQing in general, I bought a pair of speakers today. Nothing too fancy, but I heard some bad stuff when I played my track, so I guess it will help regarding the mixing process! 
First, thank you MindWanderer for taking the time to comment my track! I am really glad you like this!
When I compose, I tend to build stories around the tracks I work on, and often think about what would be visually happening if it was a movie soundtrack. This piece is no different, and it tells a story:
First Fear of the Heavens (FotH) is the exposure. Imagine a large view of a antique city, with a huge mountain near it. You start too understand that this world is ruled by cruel gods, and that mankind is enslaved, with images of people living in slums and looking, terrified, to the mountain, with the clouds near the top magically glowing. Something may have crossed their mystical inhabitants. The Dancing Animals is the wrath of the gods falling upon the city, for a probably stupid and arbitrary reason. A lighting strike fall from the mountain setting the city on fire. Panic follows. The city burns.  From the ashes, amidst the causality, a hero rise. He chose to take arms and go challenge the gods all by himself, Kratos style, to free the inhabitants from their malevolent rule. This is FotH, 2nd appearance. The solo guitar symbolizes the hero. He travels to the entrance of the temple at the top of the mountain. The Spirit of the Night djenty part is here to emphasize the increasing feeling of dread of the hero, about to face the greatest opponents ever. The solos are the bloody battle between him and the gods. Before LTfL he is in a rather bad position. But thanks to the power of love and friendship for his fellow villagers, he manage to turn the tide of the battle and finally smash his enemies (LTfL and SotN). Explosion sound from the gods dying under his rightful power. Now the power of the gods are dissipating and the sky brighten while snowflakes (well, more like gods ashes) fall from above. This is the rising arpeggios from FotH. Final sequence, everything is for the better and the hero is now the natural ruler of the city (last FotH). The end! (Quoting my friend right next to me as I wrote this: "Wow, you went really far")
Whatever, the sound design was more about storytelling than quality in audio production. If you think this is bad, I will look into this. In fact, it was a nice excuse for me to have this story behind because I couldn't figure some nice transitions out. So thank you!
But I'll keep the last part. As I said to the Nikanoru, I really like long progressive songs, so this ending is not a problem for me. Plus I really like the arpeggios from Fear of the Heavens and I wanted to ReMix them from the begining.
I'll try the trail off technique at 4:45 and see where it can gets me.
Regarding 2:33, I think I just lack some nice crash hit at the end of the double bass acceleration. I like the old-school trashy feel of the next part, so I'm not certain a sample would work.
Sorry for the very long post and the stupid story-thing. Thank you for your comments. Stay tuned for the V6 (I think I'll post updates more often from now on, as I lack the hear for mixing and will need some feedback)!

There was a recent discussion of ads for OC ReMixes on YouTube that some of the staff here MIGHT have heard about.
I've done a little bit of browsing and investigation and noticed that OverClocked Records has very little - if any - advertising presence outside of OCR itself, aside from a few articles that are two years old. Heck, there's no advertising on the OC Records site itself either. This seems counter-intuitive, considering how much advertising there is for OCR.
Is there no appetite for advertising this awesome music elsewhere, or is there a cost/legal restraint, or has no one thought about this because they are too busy with other things?

Been a long time since I picked up an N64 controller, but memories of this game come through very clearly. Link was always my favorite, but few could defeat me with the 'Chu.
I think glasfen has said pretty much everything I would say on this. The only thing I would add it that it doesn't sound mixed quite right - I want to say compression, but I don't know my terminology enough to advise you properly here. Perhaps someone like timaeus222 or Rozovian could give you better advice here.
I always find it interesting when someone can take a short loop and turn it into a full remix. This sounds great!

Hear hear!
 

Hear hear!
 

I did play a lot of Donkey Kong Country, Mario Kart and Street Fighter II with my mom as a 7 year old...

Not a bad remake at all, IMO. With this sound and style, you could very easily turn this into a remix.
The drums could be a more exciting, the bass it too quiet, and it's almost too slow in some parts (some bits sustained too long IMO), but I rather like the synth and guitar sounds you chose for this and the slower tempo gives it an almost laid-back feel when compared to the original, which to me is an interesting choice.
 
 

Alright, but if you want to indulge in the sound design, some of us wouldn't go into a dungeon with low health - that would happen after taking a bunch of hits in the first room.
What I'm getting at here is a suggestion of adding a bunch of 'Link getting hit' sound effects to get to 'low health' (maybe 1:13ish?) then making that dreaded, awful beep lead into the solo. Just a thought.
Yeah, I see I wrote 1:15 when I meant 1:35. I think it's actually a bit of muddiness in the low tone of the distortion. Now that I hear it again, I'm not sure volume would really fix this.
I will say that the 8-bit stuff does seem louder than instrumentation, but this is likely design.
Love this response.
 

No responses in almost a month? Guess I'll take a stab...
This has got a really good drive to it, and I like the progression 'deeper and deeper into the rock' as the track goes on.
A couple of things:
Not sure the intro is needed. I get that you are building from 8-bit to heavy metal and the sample sets the mood of Link going into the dungeon from the world map, for sure, but I think it's distracting, if not misleading. IMO, the 'steps' should be all you need to start. The beeping, oh god, the beeping between 0:20-0:38. Please ... let's not put Link low on life at the beginning of this track. Like what you did with the tone at 1:32 though - cool little solo. There are some mixing issues; some instruments seem out of proportion with others. For example, I can't hear the intricacy of the guitar-work at 1:15 as well as I think I should. The various sound effects are irritating to me. Once again, I get the sound design, but they are a distraction from the piece IMO. These are all suggestions that are my opinion only. I really enjoyed this track, hope there is more to come.

Fun fact: that song is directly based on Kecak, the Balinese monkey chant. The rhythm is exactly the same, only faster, and the "kac" samples may have been taken from a real performance.
I thought of remaking it once with a more classical feel and part of part of the percussion replaced with anvils. XD

Glad to hear. Looking forward to hearing the new arrangement!

Yes...same here. Very near in the future i have to experience this wonderful adventure again :).
Thanks for the feedback. I thought about making some improvisation and actually had recorded some, but i didn't use it in the end. I came to a conclusion that i wanted to make this cover sound almost like the original, but still a little bit different with my playing (acoustic guitar, piano...). But yeah...it was kind of a thing to get my music, video and other stuff rolling again :).
I think it's very possible that i try to record and make some new kind of arrangement for this. I just have to train more frequently and expand my vision for the improvisation

Well, the drone is not "atonal" exactly, much of it is a quarter-step lower - so about midway between D (the tonic) and Db as I recall. Thought it was a fitting sample, at least in the initial incarnation of the track since the beginning has a sort of horror feel.
Carry on.

Fair enough, if this is the case. Just trying to encourage a new remix!

i don't think any good composer wants something to sound completely mechanical (100% perfectly-quantized rhythm, zero variation in velocities), because it sounds stiff and lifeless. It's not an "obsession"; it's the product of a trained ear.
Mechanical notes are the equivalent of a real person playing with zero emotion, and evidently, a person cannot have 100% perfectly-quantized rhythm, nor can they have perfectly even note intensities in real life - that would be extremely unusual. For pianists as an example, a real person does not plunk down notes at the exact robotic intensity or rhythm on every single note (unless they truly try to play badly by slamming a finger onto a piano for every single note, which is not how anyone is supposed to play piano, even beginners who don't have experience using all their fingers on a piano).
When we on the forums ask for humanization for a track to be submitted to OCR, we usually aren't saying, "go make it so no one, not even the best digital music composer in the world, can tell it's a sample." We're often saying, "make it so it's not so stiff in rhythm and intensity, so that there are actual dynamics in the song."
The point of humanization is to give a sensation of dynamics, and that doesn't always require realistic rhythms and intensities. As long as the rhythm is not 100% quantized, and as long as the note intensities are varied, that's a step towards humanization - at that point, you should ask yourself, "is this how a human being would play it [approximately]?", and adjust further until at the time, you think it sounds good. It doesn't have to be convincing to everyone, but the "general audience" shouldn't be able to tell that much.
Sometimes the rhythm and intensity adjustments are subtle, or sometimes they're kind of obvious, depending on your experience in rhythm. For example:
Mechanical rhythm + intensity Mechanical rhythm Mechanical intensity Fairly realistic You should also consider the context - is the instrument in question exposed, or mixed down pretty well that it becomes harder to hear the qualities that tell you it needs humanization? So, for a solo piano performance, humanization is absolutely crucial; for something that features a piano but not at the forefront, probably not as necessary to be uber-realistic...
With certain OSTs, people don't necessarily shoot for "man, I can't tell if this is a real band or not." As long as it fits the mood, era, etc. for the game, and the composer and other participants are happy with it, I think it's fine. It's what they were going for, probably. But I would say those standards are associated with the fact that the relevant OSTs are probably pretty old, like 8-bit, 16-bit, stuff that's pre-2000s - early 2000s. Or, it's based on dated styles. I don't think anyone expects something crazy-realistic from, say, Pokemon Sapphire's OST, but it fits for a GBA game.
If it "holds up song writing", then it just means you need more practice working faster. It honestly doesn't make me slower, because I'm used to it, and I adjust velocities and rhythm as I go, instead of putting it off until the end. That way it doesn't feel like a lot of work left to do later. You don't want to grade 48 lab reports the day before they're due; you want to grade a few every day until you have to turn them in later, so that it's not such a pain for you.