paradiddlesjosh   Judges ⚖️

These are just going to be first impressions from voting, so take this all with a huge grain of salt!

The City Is a Warm, Dead Waste: I love the variety here! It reminds me of Castlevania: Portrait of Ruin in some ways, it doesn't surprise me to see a few Team Whip alumni on this one! Guitars are kickass here, and there's a monster amount of synth variety too. There's a solid amount of cohesion with the sounds chosen here, though I'm somewhat less sold on the arrangement itself - lots of great ideas but I think it'll take me some time to grasp where the arrangement is actually taking me. I think there's some reverb fine-tuning to do here, a lot of the elements feel overly boomy, which takes away some of the bite from elements like the drums. Other than drums/guitar, I actually surprisingly can't pinpoint individual elements contributed by each artist - there's a lot of sounds that feel like they could have come from anyone, which is pretty neat!

🏆Duel of the Shifting Sands: Ooohhh, 8-bit plus! I'm not surprised at all by that, but I'm not used to hearing it with all the extra bits and bobs, and I gotta say... I dig it! A lot. I think there's untapped potential to process the chiptune elements a little more dynamically, but overall, the blend works pretty damn well. 3:02, hell yeah! This is a great way to drive this home. I was on the fence about which track would get my vote, but this section really clinched it for me. Overall, I saw a huge amount of potential and TONS of great ideas thrown out from both entries in this duel, but this track feels like like it has the edge in terms of focus and cohesion.
 
🏆Seven Fists Under the Sakura Tree: Motherfucker, you guys are not playing around. This hits IMMEDIATELY off the rip. That fill at 1:06, excuuuuse me? I think this has a bit of the same "washiness" that I noted in "Warm, Dead Waste" where there's just a little bit less clarity to the mix than I would like, but I don't think the track suffers too much as a result. Ok, and now we go into something completely different at the end that somehow also works? I was trying to write out my highlights as I went along, and I just couldn't keep up. The sound choices, writing, production... y'all are crazy for this one. This is going directly onto my Smash Bros. playlist. This is going to be hard to beat. 
Sakura Wa Karenai: Ok, so that's how you're gonna play this. The production on here is IMMACULATE right off the jump, I can hear some strong DJ Mokram influence on the world instruments, then some psytrance beats come in and I immediately know who's at the helm. The production on here feels a little tighter, but I'm waiting for the moments like Team Rage had in their entry that REALLY knocked me off my feet. Oh, there's 2:06 - that's more like what I'm talking about, but it still feels like you're holding back on the energy levels. We've still got time to go though, so we'll see where this goes. 2:42 really jumped out at me in a completely different way, but it was a powerful moment with the entrance of vocals and that beautiful FM piano. The sound design in this section is off the hook. OH BABY SHUFFLE RHYTHMS now we're cooking. Ahhh, this matchup is TOUGH. There's so many brilliant ideas here and there's actually quite a bit of connective tissue to bridge them all together, but will say that the energy management falls just a little short of my hopes. The mix is incredibly clean, from the instrumentation to the mixing/mastering, but it feels like there was room to push the intensity further. I still loved this a ton, and you gave the other track a serious run for their money, but Seven Fists takes the crown in this matchup for me.
 
🏆Only Trust Your Mix, Techniques Will Never Help You: this title sounds like something I would hear in an incomprehensible Youtube Short production tutorial, I'm curious what the title alludes to! This starts off with some pretty straightforward but catchy, bright rock that reminds me of old Sonic Adventure music, the lead performances are top-notch. I don't feel like this track was as ambitious as the other ones from Team Rage in terms of ideas, but it feels like perhaps the most cohesively-executed of the three, and just because it's more focused, doesn't mean that it's any less impactful. The seagulls are a nice touch too, reminds me even more of Sonic Adventure when we hit that part. Crazy breakdown at the end, this was really good!
You Make the Sun Shine (In My Heart): Aww, so cute! This is definitely the hardest matchup so far just by virtue of the fact that each entry were clearly going for different things. The other two matchups, although executed very differently, ended up going for relatively similar energy, but this is the kind of diametrically-opposed matchup I love to see from GSM. The lead vocals are confident and fit the bill really nicely - some slightly awkward moments where the lyrics and the melodic phrasing don't perfectly sync up, but that's to be expected on a short timeline when you have to add your own lyrics to the equation. Across the board, I'm hearing brilliant synth riffs and excellent sound choices. I love the vocal harmonies that I assume colorado weeks contributed? 3:25 onward to the end of the song is when everything really clicked for me <3 The area where this struggles for me is the mixdown - it doesn't feel like it's quite baked yet, specifically in terms of relative volume levels. The lead doesn't always feel like the lead, and there's certain elements (like the synth bass at 2:40-ish, for example) that feel inexplicably louder than everything else. There's also several elements that don't quite feel glued together with appropriate level of bus compression or reverb to really give this a sense of place. When both tracks are full of great ideas but in totally different ways, I need to fall back to execution, and in this case, I have to trust the mix from Team Rage.
 
There's no dead air this round, every team brought the heat in terms of concepts and energy! Execution was a little more of a mixed bag, ultimately I feel like any of these matchups could have been swayed with different levels of polish on the execution, which means that you all hit the mark in terms of blending the sources well. I am well familiar with the time crunch element of GSM, and it does tend to play out tougher for more ambitious, multi-genre concepts that will always take longer to polish. Even though I ended up generally voting for the tracks that felt tighter and maybe took a few less stylistic risks, it's not for lack of enjoyment of the more ambitious ones! If you didn't get my vote here, it just means that I thought the song needed a little more time in the oven - everyone did excellent work and I enjoyed it a lot! 

Voting Guidelines
Teams were tasked with writing three mashup arrangements of two songs each, one from a Streets of Rage game and the other from an Etrian Odyssey game.
In order to make your vote, listen to the remixes and, for each pair, choose the remix that fulfills the following criteria (listed in order of importance):
The remix arranges both source tunes in an interesting and identifiable way into one cohesive piece of music. The remix is well-produced within the conventions of the genre. The remix is enjoyable to listen to. Stream the remixes via Soundcloud or Download the Round 3 Remix Pack (MP3).
For your reference, here are the source tunes for Round 3.
Streets of Rage vs. Etrian Odyssey II
The Last Soul Labyrinth IV - Petal Bridge [Dungeon: 16F-20F] Streets of Rage 2 vs. Etrian Odyssey III
Go Straight Labyrinth VI - Cyclopean Haunt Streets of Rage 3 vs. Etrian Odyssey
Shinobi Reverse Labyrinth V - Lost Shinjuku [Dungeon: 21F-25F]

First, thanks for adding the source breakdown. That made identifying source usage and analyzing your arrangement much simpler. I’m not making the “Aquaduct” connection underneath the “Ghost Castle” arp until the bass starts the slides while the “Title Screen” melody begins to play. Still, each source is clearly represented throughout your track regardless. Proph already included a play-by-play outlining the arrangement and source usage above, but I’m including my own here.
The track opens with the arp from “Ghost Castle” atop mechanical noises and bass sustains. As the other Js have noted, the bass is noticeably tamer than I’d expect for a track in this style. I didn’t have an opportunity to listen to this one on the first go ‘round the panel, but my understanding is the bass was too loud the first time through – seems like you overcorrected here, but I can hear it well enough.
There’s a two-beat break and a shift from 6 into 7 at around 0:14 when the arp synth is joined by strings and claps. There’s some filter automation on the arp layers around 0:30 when a plucky synth adds the “Title Screen” melody into the mix. Around 0:45, the pluck synth’s pattern complexifies as the bass adds portamento. There’s a gradual release of energy around 1:00 as the plucks give way to the “Ghost Castle” arp. There’s a bar of 8 subtly thrown amongst the 7 and the extra beat seems to help this spot breathe.
At 1:16, there’s a shift into “Aquaduct” and another meter shift into 4/4. The “Ghost Castle” arp gets molded to fit the 4. Excellent restraint on the percussion until 1:33, after the bar of 7, when the beat drops. There’s a mix imbalance in this segment as the pluck synth on the right overpowers the pads on the left until 1:33, where the plucks fall below the pads (note: from my listening experience, this is more pronounced in speakers or monitors than headphones). Hemo’s right that the pluck here is too hot, I’m hearing around 3.5 kHz – if you cut about 2-3 dB around with a medium Q, that would mitigate this issue.
The drum groove intensifies at 1:50 with the return of the claps and some hi-hat drills. I’m actually on board with the drums mixwise here; to me, each part’s audible and in its lane. The claps are being used more like claves or a cowbell than like a backbeat layer here, which is probably going to throw some listeners for a loop and cause them to lose the beat, especially once this little foray into a 4/4 groove is over. While an unconventional use of the palette, this part writing choice works in my opinion because the snare is capable of holding the backbeat role without the clap layer.
Back into 7 at 2:03 where the “Ghost Castle” arp returns and we get the melody from the same source – as an aside, the arp up to this point has been incredibly helpful for keeping track of the pulse against the intricate drum patterns. The plucks counter at 2:22 with a variation of the arp pattern. A break in 6 at 2:38, and then we’re back to 7 with the “Ghost Castle” melody in the plucks. The descending “Aquaduct” motif returns at 3:12 and flows into a recap of “Title Screen” at 3:27. The drums begin simplifying at 3:42, as does the pad running the “Title Screen” melody, and it feels like the energy is dragging here more than is necessary. But here comes a strong ending at 4:13 and we’re done.
Is there a perceived lack of dynamics? The other Js have certainly made a good case for it, but I say Larry’s got the right of it with this track having a narrow dynamic curve. The meter swaps like the bar of 7 around 1:30 and the pause in 6 at 2:38 work wonders for managing the pacing as the track moves through the sources, and I feel the textural shifts more than make up for the slow burn in terms of track energy.
As for the production side of things: as noted above, the right-panned plucky synth causes some panning imbalances. EQing the pluck could provide some more arrangement clarity in sections like 0:45-1:00, 1:33-2:03, and the return of the “Title Screen” motif at 3:12 – you might even have enough headroom left over to bring the bass up a couple dB. As it is, I’m not hearing clipping, pumping, or other overcompression artifacts, so this isn’t a deal-breaker for me in the grand scheme of things.
I’m going to split the panel here with my first vote: I buck these NOs, too. As Larry mentioned, this one takes a few listens to grok. The production issues noted above are certainly worth exploring, but the arrangement is cohesive and there’s lots of creativity shining through on it. I say this is above board.
YES

Howdy, Jonpon!
This will probably sound like I hated this track: I fully agree with proph's notes. 
For starters, the instrumentation and production simply aren't up to par.
The lack of a rhythmic constant makes the intro difficult to follow. The transformation of "Barret's Theme's" A section melody you've given from 0:24-0:48 is nearly unrecognizable, and the dissonant layers underneath aren't doing the section any favors, either. The rapid descending arpeggios in the intro callback from 1:13-1:38 sort out the intro's rhythm problem, but proph's right that a bunch of parts are just stepping all over each other because they're playing in the same range. It seems like the organ is carrying the melody line at 1:38-2:03? I can barely make out the "Barret's Theme" C section melody; without Nobuo's stepwise figuring from the source material, your interpretation is tenuous. The lead at 2:27-2:44 has another tenuous source connection; as a nitpick, I don't agree with the highly active lead line over the top of a pulsing pedal tone bassline and no other rhythm section. There isn't any setup for the ending at 3:32.
It's not all doom and gloom, though. The organ lick of the source B section melody at 0:49-1:13 is solid. The segments that truck along like 2:03-2:27 feel great. The reprise of the A section motif at 3:02 works much better than your first statement at 0:24. There's a cool story behind your arrangement.
You've got an arrangement with promise and potential here. If you haven't already, I highly recommend taking this to the #workshop channel on the OCR Discord. It's more active than the forums these days, and the folks there can help you take this track to the next level!
NO (resubmit)

Voting Guidelines
Teams were tasked with writing three mashup arrangements of two songs each, one from a Streets of Rage game and the other from an Etrian Odyssey game.
In order to make your vote, listen to the remixes and, for each pair, choose the remix that fulfills the following criteria (listed in order of importance):
The remix arranges both source tunes in an interesting and identifiable way into one cohesive piece of music. The remix is well-produced within the conventions of the genre. The remix is enjoyable to listen to. Stream the remixes via Soundcloud or Download the Round 2 Remix Pack (MP3).
For your reference, here are the source tunes for Round 2.
Streets of Rage vs. Etrian Odyssey III
My Little Baby Cityscape - Engrave Thy Name and Go Forth Streets of Rage 2 vs. Etrian Odyssey
Alien Power Strife - Rapture [Normal Battle: Final Floor] Streets of Rage 3 vs. Etrian Odyssey II
Ending Return of the Heroes [Ending 1]

Here's a sample of some of my work! I've done some banners for Dwelling of Duels and some personal projects as well. Hope I can get the opportunity to contribute to this project!

Sounds great! Wouldn't mind doing another year or two if you need—here's some other work, aiming to showcase a breadth of styles.
  

Sent these over to DS last night, but here's my take for one of the years! 

These are fucking bangers. I am glad I got to finally listen to them.

Wonderful job to both teams. <3 Kinda funny how I can directly distinguish who is in what team, just based on the sound palettes, techniques used and their individualistic motifs from previous work of theirs!! It's a highlight to hear everyone's hearts and passions and skills mingle together to make something this unique, and both series' OSTs are pretty crazy and gives such a weird, lively, and wide variety of possibilities to the imagination on arranging a remix! So, kudos to the series selection, source choices and the end results!

Look forward to more, and remember, no matter the result, these are fire and I was thrilled listening to each and every one of them (several times over.) :)

Hey everyone!
This time, something new!  A Live performance of my newest piece by the Game Music Ensemble at UCLA:  The Power and Raphael mixed together from the soundtrack of Baldur's Gate 3!
 
 
 

good job everyone
 

Voting Guidelines
Teams were tasked with writing three mashup arrangements of two songs each, one from a Streets of Rage game and the other from an Etrian Odyssey game.
In order to make your vote, listen to the remixes and, for each pair, choose the remix that fulfills the following criteria (listed in order of importance):
The remix arranges both source tunes in an interesting and identifiable way into one cohesive piece of music. The remix is well-produced within the conventions of the genre. The remix is enjoyable to listen to. Stream the remixes via Soundcloud or Download the Round 1 Remix Pack (MP3).
For your reference, here are the source tunes for Round 1.
Streets of Rage vs. Etrian Odyssey
Fighting in the Street Labyrinth IV - Sandy Barrens [Dungeon: 16F-20F] Streets of Rage 2 vs. Etrian Odyssey II
Never Return Alive Scene - Wings and Cherry Blossoms [Event: Ones with Wings] Streets of Rage 3 vs. Etrian Odyssey III
The Poets II Cityscape - Between the Azure Sky and Sea You can also use this thread to leave comments about the tracks. Remember to be kind and constructive. Thanks for listening, and thanks for voting!

I say we should give Netscape Navigator 9 another shot.

Hey just so you know, this whole "they don't care about privacy anymore" is 100% fucking nonsense. Mozilla does not say that they can use your data however they want. This is also part of the terms of literally any site you upload anything to; the service needs to say "you grant us the right to do things with your work so that our service can actually function." For example: uploading a picture to Bluesky? Bluesky asserts the right to transform your work so that they can generate a thumbnail of the picture you uploaded.
That's what these terms always mean. It's never about a service or a piece of software asserting ownership of your data. It's about you granting them a baseline level of permissions so that they can actually do the things you need them to do with the data you give them. This type of "company is stealing your work" scaremongering makes the rounds every few months in art communities and every single time someone has to clarify that companies are not stealing your work.
Mozilla is not claiming ownership of your work. Mozilla is not throwing privacy to the winds.
Instead of watching a clickbait video that perpetuates the same stupid misunderstandings, maybe go directly to the source and actually read what Mozilla has to say about it?
Also, Brave is the second-to-last browser you should be using (behind Chrome). Brave has engaged with scummy shit such as:
Replacing ads on pages with its own ads and taking a cut Putting their own affiliate links in search suggestions Installing a VPN on Windows without notifying users Numerous partnerships with cryptocurrency firms If you want a reliable browser that's not Firefox, there are plenty of options like Orion, Waterfox, Ungoogled Chromium, Arc, etc.
Brave is not it.
EDIT: But also just keep using Firefox.

In the shadows, we stay busy. ;-)
Joining us as a Sage, we now have @Treyt, who's shown off a lot of skills, enthusiasm, and potential since his fateful forum post nearly three years ago!
We're proud to announce some staff promotions with the twin magic of Sages @pixelseph & @paradiddlesjosh stepping up to become two of our newest judges! We had some fun internally joking that they were a package deal, yet I'm happy to say they both independantly have done well and proven themselves capable to help us out in this new capacity on the panel!
We've also honored to have another judges panel addition in @jnWake, who cut his teeth in OCR way back and has massively grown since becoming a Dwelling of Duels regular! All three of the new judges should help us NO every VGM arrangement submitted to us with more speed, politeness, and class. ;-D
Be sure to use our resources in the Workshop forums and our #workshop Discord channel and you may just get some feedback from our new staffers!

Definitely love cynics PRE-EMPTIVELY complaining.
Let's get something very clear: with all respect to vertexguy, we were justified in rejecting those old covers many years ago; they were short, undeveloped, minimally interpretive, not particularly personalized, and not mixed well.
We also HAVE a posted ReMix by Chris, because it was everything those old submission were not, i.e. mixed well, and more interpretive. He didn't have to compromise his approach to music in order to get posted: http://ocremix.org/remix/OCR02027/
There are such things as interpretive covers, covers that are well-performed and demonstrate a unique interpretation of the source music, and we love to post them.
Some things with your arrangement: The guitar performance is cool. The percussion was OK, but the writing was on the bland side, and it didn't quite gel with the rest of your performance. For the backing pattern, you might as well have just taken a MIDI and put some better samples on it; it sounds too close to the original "Funky Stars" with little interpretation. At least you have some parts where the guitar doubles it, and you have some original writing involved as well, so that goes in the right direction of making the arrangement more interpretive; but it's not enough in that direction.
In any case, it's not a bad track, but would need to be developed further for what we're looking for.
HOWEVER, it's not actually eligible in the first place to be submitted, because the original song is not from music originally created for a video game.
Apart from being an original demoscene song made in January 1996 that wasn't created for Barkley, Shut Up and Jam: Gaiden, the song being used in a Worms 2 cracktro doesn't mean it was created for an original video game soundtrack. That would be like ripping the Blu-ray of Games of Thrones, adding in your own cracktro with music promoting the fact that you ripped it, and then claiming the song used was part of the Game of Thrones television soundtrack.
Cracktro music is ineligible to be arranged for OC ReMix, so even if the arrangement were all sorts of amazing and fit the standards, we couldn't accept this track.
That said, you're not warning anyone about anything. Get over yourself, stupidly claiming that we either "don't get" your music or are too biased against XYZ genre/styles to post your music. You clearly don't listen to what's posted at all, or you'd realize that we have plenty of music with live musicians, whether it's rock, metal, jazz, piano, acoustic guitar, or orchestral. So to claim we discourage live musicians is hilariously ignorant.
Also, calling one of our moderators a "faggot" means you're immature. We've had people acting even douchier than you eventually come to understand that they were being stupid. If you get over yourself and grow up, we'd be more than happy to hear another submission from you.
Don't fuck around. - Larry
NO Override

Well here are a few tips based on some grueling experiences I went through licensing my tracks, hope they help.
To start, I use https://soundrop.com/ as my distro service; it's not as fast or as friendly as it used to be unfortunately (live chat disappeared in favor of a slow ticketing service, for example), but I still get monthly play reports and it's great about regularly adding (and including your materials) on new platforms as they become available.
As to licensing the music, here's the kicker: they require proof of a U.S. release of the original track. That means before you even want to try licensing something, see if the source soundtrack album exists on Apple Music or Amazon (the two they put the most stock in). (That part also used to be easier, but the restrictions changed a few years ago.)
If you can hunt down an ISRC (album) or UPC code (track), even better! Musicbrainz.org is a great resource for that. For example: https://musicbrainz.org/search?query=Grim+Fandango&type=release&limit=25&method=indexed 
Each track you want to license gives you a spot to include a write-up, so come with everything - track title from the game, composer, soundtrack title, official album release links, codes... you'll be in good shape.
If the track you're licensing has multiple source tunes, be prepared to include both in the description.
Sadly there's a ton of material I couldn't license after maaaaany attempts, because even though I could prove US game release, note the production company and show the Wikipedia article, there was no official album. Doom 2, for example. I found some album records online but if you look closely they say "bootleg" as the "status" and that doesn't work well. Not official enough.
Anyways I hope that helps, take care!

Short, sweet, a fun listen! I would have liked to hear the trumpet step aside for a moment and allow the violin or the flute to take the melody, but this is a minor nitpick.

I was watching a tutorial on how to profile a reverb in a specific place using some tools.  Like, I think you use some kind of beep or tap and record it using this device, and then it comes up with the reverb profile (or something like that?).  I can dig through my sources, but I thought it was related to this topic and definitely interesting.

Howdy, Master Mi! Besides calculating time-based effect durations, you can also use this calculation to place studio monitors in your space.
First things first: the speed of sound through a given medium depends on the medium's density (and temperature). At room temperature (20C or 68F), the speed of sound through the air is 343 meters/second (about 1,125 feet/second), slower at lower temperatures and faster at higher temps. To calculate space in time-based effects like reverb and delay, that's 343 millimeters per millisecond (343 mm/ms) or about 1.125 feet per millisecond (1.12533 ft/ms).
Next, sound waves radiate from the source -- almost perfectly spherical in lower frequencies and more directionally as the frequencies climb. A spherical room with a radius of about 11.25 feet will have early reflections (i.e. bounce off the walls) at 10ms. Of course, no room is spherical; most are rectangular prisms or combinations of 3D shapes, so you'd need to measure the distance from a given point in a room to all the faces (walls, floor, ceiling) to determine the travel time for the sound to reach that point from the wall and vice versa. Because higher-frequency sounds have smaller wavelengths, they lose energy faster than lower-frequency sounds. For especially large rooms like your cathedral example, it'll be necessary to roll the high frequencies off in your reverbs and/or delays for realism (and lower frequencies for mix balance). I like rolling off at 360Hz (high pass/low cut) and 3600Hz (low pass/high cut) as starting points but play around with these to suit your production.
Regardless of the other dimensions, the average height for human males is about 1.77 meters (5.8 feet), while human females stand at about 1.63 meters (5.35 feet) so the time for a sound to travel from human-ish height to the floor is about 4.75-5.1 ms (1630 to 1770/343 or 5.35 to 5.8/1.125). But unless the sound source is facing the ground, most of this first reflection is likely not getting through your HPF. For the distances to other surfaces, convert the distance to either millimeters or feet and divide by either 343 (mm/ms) or 1.125 (ft/ms).
It'll be up to you to decide how big you want this cathedral to be and calculate accordingly. You can also fudge those delay timings to simulate a colder or warmer room -- e.g. at 0C or 32F (freezing point of water), the speed of sound is about 331 m/s (1086 ft/s), or 331 mm/ms (1.086 ft/ms), so the time to the floor is about 4.9-5.3 ms. Not much slower for the first reflection, but the difference is more noticeable for further surfaces.

Just to clarify: you’d remix material from both series. One team will select the source tracks from one series (one track per game, three games) and the other team will do the same for the other series, and then the sources will be paired up. Each team will produce three mashup mixes, one for each of the three pairs of sources.
In the previous two GSMs, teams have taken different approaches to getting tracks put together with regard to whom does what. You might be on a team with three or four performers and a couple of mixers, maybe one team member is good at mastering, and three arrangers; or your team might be five arrangers and someone who plays guitar or something. As long as your team gets their three mashups done by deadline, it doesn’t matter how you do it. :)

Just to clarify: you’d remix material from both series. One team will select the source tracks from one series (one track per game, three games) and the other team will do the same for the other series, and then the sources will be paired up. Each team will produce three mashup mixes, one for each of the three pairs of sources.
In the previous two GSMs, teams have taken different approaches to getting tracks put together with regard to whom does what. You might be on a team with three or four performers and a couple of mixers, maybe one team member is good at mastering, and three arrangers; or your team might be five arrangers and someone who plays guitar or something. As long as your team gets their three mashups done by deadline, it doesn’t matter how you do it. :)

So... a few days ago I released which happens to be my most complex VGM Remix album so far. 11 covers, remixes, arrangements or whatever of 11 (or 12 if we count some hidden track haha) different tunes from this amazing soundtrack.



Musically this is pretty varied but always with metal as the main base. Featuring a lot of talented performers in all tracks, some of them also active in OCR.

You can listen to or/and download the full album in Bandcamp (it's "free or name your price", so just put 0 as price. Or ask for a download code if you want to add to your Bandcamp collection)
https://unknownpseudoartist.bandcamp.com/album/songs-of-phantasia-a-metal-tribute-to-tales-of-phantasia

Alternatively you can also listen to the full album in Youtube in a single static "video":
Anyways, if you can find some time to listen that'd be nice There was a huge ammount of time, effort and passion poured into this thing and I thin it's worth it. I hope you like :)

This seems like an opportunity to delve into Indian folklore instruments to arrange the credit theme of a 16-bit game very dear to my heart. This is why I love these OCR albums: they are the perfect excuse to try concepts I wouldn't otherwise have dared to try on my own. 😉
Best advice I can give ya @mo.oorgan is to try and enlist someone with some experience as a co-director. At first it will seem manageable on your own, but especially if you've got an aggressive timeline for this many tracks, there's a lot of administrative and HR tasks that can drain your artistic soul dry. Best of luck, and maybe I'll join the effort if/when this gets going. 💪

I'm all in on this concept! Some of my favorite tunes are the credits themes and I don't see enough representation for them (SotN's ending theme, "I Am the Wind", or Metal Gear Solid 2's "Can't Say Goodbye to Yesterday" are great examples).