Rexy

The structure here is simple and effective - two repetitions, with the intro, bridge and outro sharing the same general idea. That idea is taking the chord pattern in the source's first two bars, applying the rhythms to the acoustic guitar, then overlaying other instruments with an I-vi-ii-V chord pattern across 8 bars. Not many slow-burn intros reference the BGM to such a degree, so it's very welcome in my book. Both theme variations itself went through straight but had changeups on how the accordion and flute carried the A section's melody - the first one having the flute join in part-way over the top, and the second one having both instruments take turns in carrying the lead. So to the casual ear, enough is going on to keep things engaging. However, I keep mentioning autopilot as a common criticism in your work - and I sensed the cello ran through the same pattern in the intro, bridge and outro, and sticking to the same countermelody in both theme variations. This same sentiment also applies to your other backing instruments, but they're carrying the track's meat and potatoes and aren't as bothersome. It feels odd - Eric's cello performance is clean and expressive otherwise, so this usage and lack thereof feels like a thing of personal taste. The mixdown and balance are nice and clean, and Greg and Eric pulled through with some lush sounding recordings to compliment your own. But the master is on the quiet side - it hardly ever goes above -4dB. Thankfully, the arrangement's nature doesn't warrant too much power, but it should be something to keep an eye on with future works. As it is, it's an understated mix that does its job - a laid-back and comfortable arrangement with an equally friendly instrument setup. There's something about this whole package that makes me want to emphasize with the Slowpoke in the well and what they went through - and that's a good thing. Great stuff, Reuben! YES

Thanks for the source breakdown, Michael. The notation checks out, and with over 65% BGM space accounted for, integration is a non-issue. From the day version, I heard the A and B sections with unique writing flourish variations between uses, the first five seconds of the night version made eight times slower (!) at 1:38, and all incorporations of Mt. Moon used straight. I also find it cool that you placed all the sources on an entirely different minor scale - 4 tones up for Malie and 2 for Mt. Moon. And yet, they naturally adapted to your writing approach, where even the original writing kept that fusion between minimalism and Eastern inspirations. The sound palette is an interesting one. The balance is tight with no parts sticking out, but a lot of that is down to the restricted instrumentation. It makes sense as you set out to emulate YMO's style, keeping the palette to bass, percussion/SFX, melody, and occasionally a secondary melody. So while I can understand Brad's concern about wanting another instrument to fill out the roster, it's not needed if it is intentional. I would, however, recommend you to look out for your kick writing. It feels uncanny hearing them act as a complement to the snare rather than an underlying rhythm that typically starts a groove at the beginning of a bar. It's more of an annoyance than a dealbreaker, so consider it as something to keep an eye on for future projects. All in all, it's a more accessible presentation than what I usually hear from you, and yet it still has its quirky moments on the arrangement and palette sides. The way you're educating *us* in more unknown composers and styles feels refreshing, and so it makes me feel any of your projects from this point on can still be unpredictable (in a positive way). Solid stuff! YES

There's nothing wrong with a two-textural-variation route, and I can see that with the full-on doom metal vibes (bad pun!) for the first one and a cute non-overdrive breakdown at 1:32 marking the start of the second. However, aside from the textural shaping on the rhythm guitars, the notation is note-for-note, even with the pads doing the same thing. To shake off similarities between leads, try and play the melody with some minor differences, like adding other notes, articulations, and any original lick replacing a written sustained note over 2 bars. Some methods off the top of my head to change up the pads are to let them play a chord inversion lower or higher, apply a rhythmic gate, or keep the part as it is but put an arpeggiator over the top. Experiment and see what happens. The production aspect feels okay but can do with some improvements. Firstly, the guitar tone itself feels thin and lacks brightness, so it's worth experimenting with the EQ and seeing if you can get a thicker sound. Secondly, yes, the choir pad can benefit from changeups, as Kris pointed out - but I also think the sound isn't as thick as a choir would usually have, so consider doubling it up with another pad and putting them on separate sides of the stereo field. And most importantly, I co-sign with Kris and Joel regarding the lead guitar texture. When hearing some samples from your Doom EP, the lead's off-pitch timbre was a significant issue that sunk the experience. The tone is a few cents higher than it should be and becomes more apparent when going through the B sections (1:03, 2:31). It is by far the biggest dealbreaker and is worth looking into during your next project. There are some good ideas there, Lauri - but it's not interpretive enough in its current form, and the lead guitar and pads need thickening up. But most importantly, the lead guitar's tuning is a glaring fault that needs addressing before you even think of writing something else. It's a lot to take in, but I only want the best from you, and I hope you keep going with your craft. NO

If the track passes, we'll need to get in touch with Jean-Marc for both a new title and the removal of the in-game voice clips. -Rexy Remixer name : jmabate Real name : abate jean marc Email : website : https://www.youtube.com/user/jmabate userid : 35644 Name of game(s) arranged : Valkyrie Profile Name of arrangement : Take a Flight cover Name of individual song(s) arranged : Take a Flight Composer : Motoi Sakuraba System : Sony Playstation Original : Guest : Psamathes - Vocals

Hi! My remixer name: Lifestream Orchestra Real name: Andreas Grimell Email: user id: 36716 Game: Final fantasy VII Name of arrangement: Welcome to Avalanche, Cloud Name of the song: Bombing mission Additional information: Released on the PSX 1997 and composed by Nobuo Uematsu Original soundtrack: comments about the mix: I've arranged and recorded this as if it where a modern metal song with real drums (Alex Rüdinger) and bass guitar (Johannes Olsson), guitar (myself) ect. The mix has been done by André Alvinzi of Faschination Street (the same studio that has mixed Opeth, Katatonia, Soilwork ect).

Remixers: Ivan Hakštok, Sixto Sounds Games arranged: Final Fantasy 5, Final Fantasy 6, Final Fantasy 7 Name of arrangement: Let The Decisive Battle On The Big Bridge Begin! Names of songs arranged: Clash On The Big Bridge (FF5), Decisive Battle (FF6), Let The Battles Begin (FF7) This song was an entry for the April 2020 Free Month on Dwelling of Duels where it placed 4th among some pretty tough competition. After getting stuck for way too long on the pull-up minigame in the FF7 remake and hearing Let The Battles Begin over and over and finally beating it at like 1am, this arrangement came to me in a dream, so as soon as I woke up in the morning I recorded a rough sketch of the first 2 and a half minutes before I went to work. During the next few days I recorded the rest of my stuff and recruited Sixto to do the Decisive Battle leads and the guitar solo at 3:07. I think the sources are well known and easy to spot, also there's lot of intermingling going on, so I'm gonna give just a rough source breakdown: 0:00 - 0:51 = intro based on several section from the FF7 and FF5 sources 0:52 - 1:27 = FF5 with a few bars of FF7 in the middle and at the end 1:28 - 2:36 = FF7 + FF6 going into straightforward FF6, closing it with FF7 again 2:37 - 3:06 = my guitar solo, background is FF7 3:07 - 3:46 = Sixto's guitar solo, background is FF7 going into FF5 intro chords with some FF7 phrases 3:47 - 3:59 = based on FF7 4:00 - 4:14 = FF5 into FF7 with some guitar wanking on top

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Final Fantasy Adventure aka Seiken Densetsu Song Title: Forgotten Palace Songs Remixed: Mana Palace

Remixer Name: Paper Coelacanth Email: Game Arranged: Final Fantasy 9 Name of Arrangement: Amarant's Night Ride Original Song: Amarant's Theme (or Salamander's Theme) This song was one of my contributions to Pixel Mixers' Final Fantasy IX tribute album, Beyond the Mist. This was my first attempt at an 80's Synthwave style remix, which was a fun change of pace! Very much recommend checking out the rest of the album as well; lots of great people poured their hearts into it!

The source use was obvious for me on first listen, and remains so as I vote. The notation here relied on chord progressions of the pads and synth chords in the source, at the following timestamps: 0:56-1:28 (arr.) - 2:38-2:53 in source (pads) 1:28-2:00 (arr.) - 3:07-3:49 (polysynths) 2:06-3:11 (arr.) - 3:07-3:49 (polysynths) 3:30-4:48 (arr.) - 3:07-3:49 (polysynths) As Michael outlined, nothing got used from the first two and a half minutes, and everything beyond 3:49 was the polysynth pattern with other instruments over the top. Nevertheless, these findings bring the quota up over 65% source use handily - therefore making this a non-issue. With source use identified, I find it interesting that Michael stripped so much of the rhythms away, but kept the chords in place while he let the glitched piano move through it. I'm aware of the idea of subtractive arranging (i.e., keeping the source in place but adding different textures over the top), but to keep the BGM in place and remove things puts an enlightening spin on an otherwise energetic composition. Just like with "Bright Moon" before it, the instrument palette is primarily piano and glitch effects, but now with the addition of an old voice recording (and a very enchanting one at that). The mixdown is also very clean, and neither the piano nor SFX dominates each other when the glitching is prominent. And then there are the moments with the more extended piano notes (0:56, 2:38), allowing for an underlying use of white noise and the vintage recording to compliment the sparser landscape. The only thing that I would've liked to have seen changed, based on the chord voicings, is the piano tone for something slightly brighter - but that's no major rough patch in this case. Overall, this is another textbook example of Michael pushing through boundaries and creating some more unique experiences for the site. Cap it with a more stripped-down source interpretation, and I can see it being a significant discussion point upon posting. Let's go! YES

It's not a bad thing to make an arrangement that echoes shades of the old-school trance of the earliest OCR mixposts, but to approach a similarly-styled source like that runs a risk of not having a unique character. You've given it a good go, though. You swapped out the original's bass buildup with a pattern you made yourself, cut out the melody's A section entirely for something more simple, and spent more time on the source quota using the choir build in the intro and the B and C sections to appropriate effect. The choir rise at the source's tail-end also got used well at 2:35 and 4:45, but the patch you chose hardly has a body, making the notation challenging to hear. While a warmer pad there would be nice, the track still hits its source quota without it, so it's not a huge loss. However, this track suffers from a lot of repetition. Firstly, I co-sign on what Joel and Larry have said about the B section's repeat at 3:26. It's possible to keep the B section's melody and chord structure there while also changing a lot more of the backing parts' textures or writing. The added lead at 3:53 did help to keep things interesting, but it exposed another can of worms in the production, which is listed further down. Secondly - and it pains me a lot to say it - the drumbeat is as dull as dishwater. Your core groove is the same basic four-on-the-floor beat with the same hi-hat pattern all the way through, with only some change-ups in added cymbal writing in busier sections. Some good fills won't go amiss and are usually implemented every 8 or 16 bars with varying intensities depending on what you see fit. See if you can check out some commercial progressive trance and pay attention to how the drums are programmed. You may get inspired by what you hear. And now, the production. Firstly, remember what I said about the lead at 3:53? That instrument is way too loud compared to the rest of the present parts, and when paired with your limiter, it made the progression at that segment very unclear. Consider bringing the volume down, but don't be afraid to try any EQ cuts across other instruments to make it sit better. Otherwise, the balance feels serviceable overall. The two glaring small details with the delayed bells from 3:01 and the imperfect fadeout already got touched upon, so hopefully, you know what to do there. And I'm also one for hearing thicker textures on your drums, but that rolls back into what I said earlier about the part-writing being mundane, including listening to similar tracks for some ideas. It's a good starting base there, but the writing's presentation needs more done to it, particularly in the drum groove and second half. The minor production issues, particularly the loud synth late on and delayed bells, should also get addressed. Whatever you decide to do, keep going with your craft. NO

I hate to double-post myself, but there is some big news regarding album development. This album trilogy has had a history of collaborating with the Dwelling of Duels, and so, September 2020 is the OC ReMix Crossover FF3 Month! If you main a live instrument, go check it out - if you take part and you decide to send it to OCR's submissions queue, the evaluation will get fast-tracked. Any track from the game can be chosen, though there are still some uncovered spots on the OST (including some not even listed in the OP) that would be nice to have some representation. Talking of which - during this past month, @bluelighterhas made claims on not one, but two tracks! He has finished his take on "Crystal Tower" (with added usage for Tower of Owen), and is wrapping up an arrangement of "Ancient's Village" at this current moment. I am delighted to have a talented classical-inspired arranger jump in! If you're a potentially interested arranger, you're more than welcome to send a PM to me here on the forums or in the OCR Discord if you'd like to make a claim yourself outside of the DoD event. I wish all participants there the best of luck, and hype for some great tunes! x)

I'm one of those who felt torn on the arrangement values. Yes, I heard some neat new additions with the bass writing and changing up of percussion/textures/SFX - but underneath all of that, it felt like a borderline MIDI-rip. Thankfully, what I heard of the added bass - particularly during the first minute - complimented the otherwise minimal source notation. The gate effects during the second minute kept the energy moving, too. Though, I don't think the double-time drums at 2:38 were enough to keep the B section's repeats there any different from at 1:19. I'm in favor of seeing if there can be any subtle changes to one or two of the more melodic instruments so that section could stand out more. You don't need to change the chords or anything - just altering the notation/patterns would be more than enough. I also concur regarding the mixdown. It starts nice and clear for the first minute, but from 0:48 onwards, the master becomes a classic "waveform sausage," except for a few breaks. The textures on the lead harmonies feel pushed against the limiter, and as they return at 1:19, they completely drown out the established background arpeggio and the countermelody at 1:51. That's two problems pointed out in one go - an over-compressed master, and too much mud going along the mid-range. Consider slackening your limiter slightly, as well as refining the EQ among your leads and rhythm parts to give them a more defined space. It's an enjoyable mix as it stands, Billy, but two problems hold it back for me - the lost steam regarding arrangement, and an unclear mixdown. It'll be nice to hear another version with both a mixdown pass and some further melodic development in the final third. Please keep at it! NO (resubmit)

I'm in the same camp as Joel and Larry regarding the arrangement. The track initially goes through two different textural variations - the first one has an added countermelody at 0:53 and a brisker pace on the piano's glissandos, while the second is much closer to the source. Both also had some manipulations on the lead notation, particularly onto its B section. Then at 2:49, you let loose with a different chord sequence and found a way to integrate the melody over the top. Even the slower glissandos on the piano, particularly during the ending, add more content to those on the source's harp. While stylistically similar, there's enough done with the part-writing to make it stand as a distinct entity, and I'm okay with what you set out to do. Oddly enough, while the arrangement checks out, the production left me with a mixed bag of feelings. The balance and mixdown are robust aside from the usual low mastering criticism, which is another case where you have a loud peak (3:19) where the average peak size rests 2dB lower. Have you thought of putting some light compression into your master chain, or just normalizing your audio? If you do go for the former route, it's not to be too heavy - just enough to bring one or two rough peaks in line with most of the others. The volume relating to the track's expression isn't a dealbreaker here but is worth something to look into for current projects. However, what left me feeling torn was your articulations. The samples themselves sound lovely, and it's a good idea to apply vibrato to the flutes when appropriate. Still, the shaping feels off in a handful of places - particularly the woodwind leads, string backing, and choir textures, each of these hardly having any decay (and attack for the choir). The piano glissandos feel robotic and stagnant, which could get remedied with MIDI keyboard input if you have a controller handy. And that buzz on the bassoon also sounds rough - no idea what the intent is with that, but if you intend to add an instrument like that in future works, consider making an EQ cut in the mid-high frequency where the buzz prominently pokes out. It's an uneasy harmonic that really shouldn't be there. This track got so close to me, and I can see either case for mixpost or rejection. Ultimately, I don't think enough work has gone into the humanization to see it get posted just yet, so it'll be nice to hear that aspect get revised. Don't touch the arrangement - it's serviceable as it is. Whatever happens, Rebecca, best of luck with the rest of the vote and your next batch of subs. NO (resubmit)

If the track passes, it will need a different title. -Rexy Remixer name : jmabate Real name : abate jean marc Email : website : https://www.youtube.com/user/jmabate userid : 35644 Name of game(s) arranged : Ecco the Dolphin Name of arrangement : Open Ocean cover Name of individual song(s) arranged : Open Ocean Composer : András Magyari, Spencer Nilsen, Brian Coburn System : Sega Megadrive Original : Best regards jmabate

Not noted in the submission email, but this track also features Steven Higbee on the ocarina. -Rexy RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Skyward Sword Song Title: The Beginning Songs Remixed: Sealed Temple

Remixer name - Terra Genesis Real name - Billy Barnes User ID - 36712 Game - Super Mario World Arrangement Title - Koopaling’s Castle Name of original arrangement - Castle Theme I’ve always loved this piece of music but wanted to put some extra dark vibes on it by tapping into dark synth/dark techno vibes. This mix was made with serum and the Korg M1 for some of the more organic sounding instruments and some layers from my Korg Minilogue.

Greetings OC team, below the information about my submission. Contact Information: ReMixer Name: powerpilz Submission Information: Name of games: Jazz Jack Rabbit 2 Name of arangement: Power Jam Name of individual songs: Medieval Jam Link to the original song: https://ocremix.org/song/25195 The inspiration behind this track was my personal affection to electronic music, medieval sounds and the combination of them both. I guess it's a great combination which can really be something great. Also I really like to have some humorous style considering the wolf howl at the beginning and some other elements. The arrangement should be a mix of modern techno and trance having some dark touch. It shall drag the listener into it's setting. I'd be glad to answer further questions if there are any or if I should have forgotten something Best regards, powerpilz

Hi ocremix team, I would like to submit a piece of music I recently composed. It is my first submission to this site. I'm known as: Mental Real Name: Ly Tai Luu I have a bandcamp as my website: https://mentalpainmusic.bandcamp.com/ The name is: Force of Nature Rearranged from the game: Golden Sun (GBA) TItle: The Elemental Stars Kind regards and stay safe, Ly

That arrangement is excellent, no doubt about it. The adaptation to a 12/8 time signature over the original's 6/8 completely changed the intended accented beats, which I love a lot as a rhythm buff. The metal-synthwave combo allowed for plenty of additional textures relevant to the genres, and you also added room for a guitar solo between the one run-through of the theme and the return to the source riff in the lead-up to the ending. The intro's slow-down effect is tremendous and built anticipation for the one run-through, but I'm not so sure about the end. I know a particular Black Sabbath song inspired you - but for perfect mimicry, did you consider gradually boosting the tempo in addition to the pitch? Nevertheless, I appreciate your artistic vision a lot. I also concur with the drums being stale. To your credit, though, you had varied writing on the hi-hat, and the flourishes there kept up the palette's high-end tones. But to hear the kick and snare stay four-on-the-floor outside of fills feels sluggish, and the tracks I heard from Dance of the Dead spiced up those aspects more frequently. See if you can find one or two sets of 8-16 bar sections and add some off-beat uses of the kick and snare. The production is okay, and the instruments are cohesively balanced, but it can do with some further tweaks. Firstly, I'm afraid I have to disagree with Joel - I feel the rhythm guitars' tones are clear enough to carry the track through. It fits well with the rest of the instrumentation, but once other elements get put in like the synth pads and leads, there's a competition for dominance in that same frequency space. I'm more in favor of seeing you alter the EQ of those synths rather than the guitar, letting them push through elsewhere, and the rhythm chugs continue their intended role. Secondly, Wes pointed out the synth lead having minimal expression - a sharp attack, but that's it. Turning it from a polysynth to mono could allow for glides when notes overlap, using the mod wheel for expression can also shape up the tone, and automating different parameters from your VST can also bring in some ear-catching results. I understand that you made the timbres yourself, and some of these ideas may go against your vision, but they're suggestions that ought to get checked out if you hadn't thought of already doing so. This writeup is a long wall of text, and I am sorry for articulating so much all at once. But to recap - it's a great arrangement with some production flaws holding it back at this moment in time. It'll be nice to hear another version with more varied kick-and-snare writing, a more involving tone on your lead synth, and another pass on the mastering that makes your rhythm guitars and synths more identifiable. I see potential with you, Schneider - keep going, and I hope to hear from you in the inbox again soon. NO (resubmit)

Yeah, VGMix was more of a community rather than a label. I can't speak for everyone who was active there at the time, but any albums spawned from them were primarily original ones from friendly competition. (And yet the only album I can remember from such an endeavor, for obvious reasons, is Gwilym Logan's "The Meinpenis Zeitgeist"...) Either way, the closet thing to an album release from VGMix 2 in particular was the Cave Story Remix Project. It had a lot of faces active there at the time, and a lot of the organization happened through a forum thread But it was never hosted on VGMix itself, and k-wix released it independently. You also need to remember that it was 2005, and there weren't as many album-producing VGM communities as they are now, so whether VGMix staff wanted to go through with publishing albums in the first place is anyone's guess.

Like I've come to expect from you now, Reuben, you've kept a tight performance across all instruments, and everything feels clean. And while using a recorder in a mix can meander for better or worse, Natalya took great care with a natural performance that compliments your gear. The balance is firm, and all parts have clarity in the mix - though, while I've commented on hearing quiet renders from you before, this is an instance where the volume should've been toned down by no more than 0.5dB so that it doesn't quite touch the ceiling. I also concur with the sudden transition at 2:28. I feel how to make it smoother would be to overdub the acoustic guitar on there to transition from strumming to arpeggio much smoother well as add a resolution to the drum fill you started. Thankfully the accordion and banjo's tails finish just before the shift, so it's not too rough as it stands. The arrangement is also stable - translating the source to 6/8 and putting the melodies over a set of chords when the original never really had any. There are four textural variations throughout, and thankfully there's not as much autopilot as in previous submissions. The drums and bass kept a constant groove throughout, yet the other parts evolved around them. It has the marcato intro, the main run-through with Natalya's recorder, a run-through with accordion chords and banjo comping, and a repeat of the second variation's ideas, albeit with a gentle lead-in. Similarly to Larry, I felt the banjo solo had some carelessness moments, with notation straying away from the identified D minor key. Next time, consider the idea of recording multiple solo recordings and picking out what you think fits best with the backing. Ultimately, the pros outweigh the cons. It's an involving arrangement, and it's tightly produced, with some human imperfections on both sides. Great stuff, Reuben - you're plowing through with your ideas as of late! YES

Arrangement-wise, you owned it. You pushed through with two distinct variations with textural and melodic shakeups across both, and the drum writing is very energetic to boot. The breakdown at 2:11 using the banjo backing in the source is also very welcome and paced itself well for the B section's final use. The mixdown is also clean - nothing's clashing tonally, and nothing is poking out of place either. However, I'd have to agree with the gentlemen above regarding the lead guitar's articulation. I checked your video upload on YouTube for any clues, and I learned that you use Impact Soundworks's Shreddage series for your guitar and bass tones. You're not wrong - the work gone into engineering said VST is fantastic, and a lot of the key switches available are smart. But the stiff timing has made transitions from note to note, especially in denser melodic sections, feel more plinky on impact. Consistent velocities and not much note transition variance have also contributed to this robotic feel. While it can be possible to remedy it with further humanization and articulation work, all this will boil down to what version of Shreddage you're using, as the more recent releases have a more extensive array of switches to use. If you feel you can't get enough out of the VST you're using, it's best to ask for a session musician to help you out - and I'm sure there's plenty of them available in the Pixel Mixers Discord server at least. Nevertheless, if you decide to revise the track, keep the arrangement as it is - but think about what direction to take for that more realistic guitar performance. It stings to get two panel-based rejections based on production critique alone, but I know you're capable enough to act. Keep at it. NO (resubmit)

Name of primary game arranged - Sonic Adventure 2 (but w/ plenty others) Name of my arrangement - SEGA Space Station Big Dome, 2094 Remixer name - Michael Hudak Hello judges. Me again. VGM Con 2020 just recently ended and it was cool to connect some OCR faces to names. With those good vibes, I wanted to finish this remix up.This piece is heavily inspired by a lot of 90s DJ club sets that I used to listen to in college (on YouTube...I'm not that old!). What better way to do a medley-but-not-a-medley (or a mashup-but-not-a-mashup) of a big handful of 90s and early 2000s SEGA jams than by re-creating a chunk of one of these sets? But here's the rub: it's set a hundred years later. In a giant space dome. I figured we spent the 2010s riding the 80s retrofuturistic synth-wave, so let's see if we can't get a 90s thing going this decade! I guess I already tried that with my Skyward Sword tune, but...let's keep it going :p "Space Trip Steps" from the Meteor Herd stage in SA2 seemed like a perfect foundation for this idea, and I had to do a lot of Vectorman as well to finally get it out of my head after 25 years. Really wanted to add something from Vectorman 2 and another Rouge theme from SA2, but couldn't make it work. I apologize for the complicated breakdown. I tried to de-clutter as much as possible. Name of games arranged in bold. Songs used from them in italics in the order they appear - - - - - - - - - Sonic Adventure 2 (Space Trip Steps; I'm a Spy) - Jet Grind Radio (Electric Toothbrush) - Vectorman (Day 2: Metalhead; Day 3: Tidal Surge) - Sonic Spinball (Toxic Caves) - Sonic the Hedgehog 3 (Knuckles' Theme) – I directly sampled the source tune snares and pitched them a bit. Vocal sample SFX from Sonic 3's Miniboss Battle music are also used throughout, as are Vectorman game SFX (like when he blows up the delay pedal and then grooves along...and then dies at the end of the song). “SEGAAA” as well...... TIMESTAMP BREAKDOWN WITH SOURCE TRACKS Space Trip Steps is used from 0:00–2:02 & 3:45–5:00. And the pizz violins pop up constantly throughout the song outside of that. I'm a Spy coming in on top of Space Trip from 0:45–1:00 & 1:10–1:16. (1:17 and 0:35 in the source vid). Again from 4:10-4:23. Electric Toothbrush plays on top of the big pad 1:49-2:02. Day 2 goes from 2:20-3:04. I used the first 24 seconds of the source. Day 3 briefly hinted at several times starting at 1:47 but starts in full at 3:05-3:37. Toxic Caves 3:22-3:35 (0:55 - 1:05 in source) & 3:46-4:08 (first 7 seconds in source). Knuckles' Theme 3:38-3:44 & 4:40-4:44.

Remixer name : jmabate Real name : abate jean marc Email : website : https://www.youtube.com/user/jmabate userid : 35644 Name of game(s) arranged : Dahna, Megami Tanjou Name of arrangement Opening theme cover Name of individual song(s) arranged : Opening Theme Composer : T’s Music System : Sega Megadrive Original : Guest : Audio Mocha – solo guitar Best regards jmabate

Remixer Name: Paper Coelacanth Real Name: Owen Henson Email: Game Arranged: Guild Wars 2 - Super Adventure Box Name of Arrangement: Rytlock's Super Critter Rave Original Song: Rytlock's Critter Rampage Composed by Maclaine Diemer Last year, Pixel Mixers did a free tribute album, Try Hard and Tribulations, for the annual April Fools Day event in Guild Wars 2, Super Adventure Box. This track was my contribution to that album. The moment I heard the rising arpeggios in the original song, I knew I wanted to extend it into a poppy dance tune, and I had a ton of fun with it! I even tried to take a little inspiration from the FX in the HTML game of the same name.