Rexy

Hey, giving a shot at submitting some EDM. Since I already have the monicker "Setu Firestorm" (which people had associated with my rock work), I figured if I do some EDM stuff on the side, I'll go with the monicker "PseudoDragon" since I made a logo for it for fun (for the sake of the submission, I'm fine with it just being my real name (already used for previous submissions). Your ReMixer name: George R. Powell Your real name: George R. Powell Your website: https://www.youtube.com/channel/UCrGd4-atG2RlYiIun2eNVew Your userid (number, not name) on our forums, found by viewing your forum profile: Artist #6002 Name of game(s) arranged: Mega Man 4 Name of arrangement: Blasting My Way to Dr. C Name of individual song(s) arranged: Cossack Stage 1, and Cossack Stage 3 Additional information about game including composer, system, etc. (if it has not yet been added to the site): Themes originally composed by Minae Fujii for Mega Man 4 on the Nintendo Entertainment System. Link to the original soundtrack (if it is not one of the sound archives already available on the site) Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: I'd always wanted to try my hand at EDM, and with the whole COVID-19 thing keeping everybody stuck at home, I had nothing better to do than give it a go with one of my [many] favorite themes from the Mega Man games.

Hi all, Got a little something I've been toying with for a while. It's not exactly the most inventive thing I've done but I've been meaning to just get this out of my head. So here we are, the obvious, "should have done this years ago" EDM mix of the Death Egg Zone from Sonic 3. I hope it scratches someone else's itch. Remixer: GlacialSpoon (Rob Kemp, ) Website: happysalad.net Forum id: 30320 Game: Sonic The Hedgehog 3 Original Track Name: Death Egg Zone Remixed Track Name: Egg Death Machine More notes: Blatant Martin Garrix influences but with a little of my complexity thrown in. I've been trying to dial things back a little and do more with less but the old habits always come through a bit. I end up picking over details I bet nobody will ever notice. As a result, it took far too long to complete. Thanks for listening however this goes. Always a pleasure. GlacialSpoon

Structure-wise, it does go through one run-through of the source - but the genre adaptation gave the notation a whole other mood. The choral chanting and harp carried most of the source usage, relying on what little apparent melody the original had - and while all this was going on, it allowed for layers of pads and percussion to generate a new accompaniment altogether. I also find it interesting - and a while to absorb, admittedly - that the hand percussion paced itself at an utterly separate tempo than the melody lines. It's usually an unconventional writing choice, but it's also an atmospheric aesthetic that only new age can provide. The production also has a strong effort - a great sense of balance, lovely textures, and careful use of space to bring out the best of your instruments. The articulations are among your best yet, too - thanks to delicate shaping of vocal envelopes, the attack shaping on the harp, and the brief woodwind usage getting firm care with vibrato and volume shaping. Yes, headroom does remain a recurring issue with one giant spike in the waveform at 1:58 (caused by a loud harp stab) and the audio hardly going above -6db otherwise - but I feel there's enough done with the mastering to make it fit among other similar work. If it's not evident by now - it's interpretive and calming stuff. It's a more subtractive take on the source with a beautiful presentation suitable for de-stressing. Great work, Rebecca! YES

I'm with Larry as I feel the structure's fine for post-rock. The source first makes its appearance at 0:17 within the slow-burn intro, with a guitar referencing the slow synth lead in the original. It's not until 0:53 with the Moog-like synth and its dipping in-and-out every 2 bars where the familiar Rhodes line from the source makes its presence, and even through another breakdown and climatic beat at 2:20, that riff stayed put. What's even cooler is that you found ways to transform the simple melody throughout, making it appropriate to the timbres at the present moment and not echoing any similar modifications elsewhere. I approve of this a lot. The production also checks out - a clean mix, lovely attention to space, tight balance, and some fitting synth timbres. I don't mind the dynamic spread - the quieter instruments are there to provide a sense of delicacy in the bookends, and are an excellent contrast to the climax at 2:20. I also agree with the compression being tight in that section as well, but the parts still maintain their clarity so that irk doesn't matter in the long haul. Nevertheless, I'm impressed with what you put together - sweet transformations on the theme and a thoughtful production alongside. And as someone who's used to you writing more unconventional arrangements, the not-so-quirky nature of this one has left me floored with what you pulled off - striking research work, Michael! YES

I appreciate what you set out to do here - a mellow groove, with a call-and-response between source use and original chord progressions. That framework shows promise, with a strong bounce for the first two and a half minutes, and a break with changed up textures on the source at 2:42. Yet, I'm afraid I have to disagree with Wes in that the bass's dissonance with the rest of the song negatively impacts its synergy. This aspect can benefit from a complete re-write. Regarding source manipulations, however - aside from that breakdown and repeating the second half from 3:51 onwards, nothing engaging has been done with it. Since the source use quota isn't a problem, consider going back into all parts where you used it and have fun changing up the textures further - or even experiment with envelopes on your VSTs and see what works. Production-wise, I'm co-signing with Wes on this one. The waveform does have large spikes where the drumbeat is present, indicating a lack of master compression or side-chaining (or even both). Looking at the track through an equalizer also showed a lack of mid to high-end frequencies, so giving some presence to tonally higher instruments like your pads and piano could work - or even adding other layers that fit within that range. Along with the dynamically flat sample presentation, this track has a sparse and underdeveloped set of textures - which again goes back to the suggestion of experimenting with different textures and envelopes. Some much-needed thickness could go a long way. It's not a bad start there, Jonathan, but I can see it getting improved further. It'll be sweet to hear another version that changes up the source's presentation in the first half, has more textural engagement, a re-written bassline, and another mastering pass. Keep at it. NO

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF4 Song Title: Chariot of the Moon Songs Remixed: Big Whale This is my submission for the “Badass” album, but I’m hoping the album will be out by the time this gets to the judges.

I am extremely grateful for the opportunity to submit more music for consideration on your website. I have been a huge fan of OCremix and love having my music up here on this site! Let me know if you need anything else, thank you! -Elation, AKA Brett Jones Contact Information Elation Brett Jones https://www.audius.co/elation https://www.facebook.com/iamelation https://www.twitter.com/elationUS https://www.instagram.com/iamelation/ https://www.soundcloud.com/iamelation https://www.elationmusic.newgrounds.com/ https://open.spotify.com/album/21lIRymJXZhf2Uinxgkjpk?si=CbLmlzzVTZO8P285W24-OQ https://www.youtube.com/channel/UCX_W50jVYphEdzpLiz84xlg https://ocremix.org/artist/9080/elation Collaborated with the talented guitarist Casey Chanatry for those epic leads! follow his band here: https://facebook.com/JahmanBrahman/ Submission Information Lord Monarch Online Steel Brain Flash Port Geo Level Theme Source

Contact Information ReMixer name : Neverback Music Real name : Backer Ruth Website : https://www.reitoken.com Userid : 34757 Submission Information Name of game arranged : Kingdom Hearts – Birth by Sleep Name of arrangement : Epic Space Mkaukau Name of individual songs arranged : Mkaukau This is an hybrid orchestral arrangement of one song from Kingdom Hearts. It’s a game that I love, including its soundtrack! I Have try to share my love for this game and for music with you through this little arrangement. Today my Remixer name is Neverback Music. If you want find more about my Work you will be able to find me with this name. I hope you will enjoy this remix.

Hi, I'm writing to submit my track to OverClocked ReMix. Contact information: ReMixer name: DreaMeter Real name: Theo Swartz Website: soundcloud.com/dreameter Submission Information: Name of game arranged: Animal Crossing (Nintendo GameCube) (OCRemix page link) Name of arrangement: Umbrella Season Name of individual song(s) arranged: Rainy Day Artist's comments: In terms of inspiration, I always found the Animal Crossing OST to be delightful and would frequently listen to the songs on my iPod around the time the game was originally out. I would also play "Rainy Day" sometimes on my portable speaker and to help me fall asleep. Years later, I started making music, with a focus on electronic, synthesizer-based timbres. One goal for my DreaMeter project is to make music that is beat-driven yet soothing, that you can zone out to. I've made quite a it of original music but lately, I've been trying my hand at arranging existing songs as well. I thought it would be fun to arrange one of my favorite songs from the original Animal Crossing right in time for the new installment in the series. My arrangement is at a slower BPM than the original, aiming to pull out and highlight the melodies from the original that I so enjoy, while augmenting the chord voicings and progression slightly and soaking the whole track in the sound of rainfall without overpowering the instrumentation. It's a short, synthed-out, atmospheric trip to an Animal Crossing bubble that the listener can float away in. Thank you for your time! I hope you find something that you enjoy in this track and I look forward to the critique as well; I know you guys have high standards. Theo

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Ocarina of Time Song Title: The Light of Dusk Songs Remixed: Title Theme

I wasn't there last time either, but just by reading the prior decision, I could tell that arrangement would be a non-issue. Yes, it's five sources in a row, and they all got the conservative treatment, but there's enough done to the backing and style that makes it feel less in-your-face like the originals and more like a dramatic flair typically expected of prog. Even the melodies had moments of modified pitches, whether due to deliberate change for more natural performance or accidental human imperfections. If there's one part that I wasn't a fan of, it's the transition at 4:21 feeling so jarring and sudden - and it's so odd when all the other source transitions felt more meaningful (gentle fade, breakdown to a slower tempo, the shoutout to Rush as mentioned). It's still a commendable effort, and I can see why you got an approval on that front in the first place. I also concur with the production values. I had no idea how loud the previous version was, but now, I hear some cleanly recorded live instrumentation, all tightly performed and with a stable balance. Yet, I noted one observation when I imported the audio into Audacity and noticed four places where the track clipped - three during "Calling in the Dark" and a fourth in the non-transition to "Cursed Destiny." It's weird - through my headphones, the audio checks out, and there's no need to change it, though a precautionary measure before posting would be nice to have. Nevertheless, I'm glad you all took advice on board from the previous sub and refined it into this form. I don't know how it took four years to follow up from the Demon's Crest debut, but you made it, and I'm ready to see it posted. Well done all! YES

Wow, I had been going back and forth on this one myself. On the one hand, this is an arrangement with a defined framework. It goes through the intro minus the melody line and transformed from 15/8 to 4/4, then two distinct variations on the theme, and finally, a breakdown using the arp over the top and a ridiculous air-out-of-the-band ending. The first variation feels more straightforward with only slight harmony use, which got used full-pelt in the second run alongside some machine-gun-like rhythms in the B section (1:12-1:25). Technically, there is some modification done with the source, and not one part outstays its welcome - so expansion is what I consider to be nice to have if it gets revisited. The production also has minor issues overall. First of all, great performances and recording quality on the live instruments - those individual components feel clean and well-synergized. The brightness is passable as the hi-hat and ride cymbal both cut through, but I would've wanted more on the snare tone and the splash cymbal, especially considering the latter's importance in the breakdown. I also feel like the lead guitar should've been a *touch* louder, but it's still identifiable in the mix. This track is as borderline as it can get, so I won't be surprised if this split vote involves most of the panel. Myself, I feel it's done enough on the interpretation and presentation to squeak over the bar. Whatever happens, you lot have potential. I hope you all can learn something from this experience, continue to make music, and keep sending them here. YES (borderline)

Remixer: Ivan Hakštok Games arranged: Final Fantasy 8, Final Fantasy 9 Name of arrangement: Hunter's Landing Names of songs arranged: The Landing (FF8), Hunter's Chance (FF9) I figured I'd submit more of my Dwelling of Duels backlog to ocremix. This song placed 2nd in Nobuo Uematsu month (March 2019). This originally started as just a prog version of The Landing from FF8, but for some reason I remembered a random comment I saw ages ago under a youtube video for Hunter's Chance saying how it would work great combined with The Landing, so I thought I might just combine the two. Since I wanted some flair instead of just guitar wankery, I added some celtic instruments in there, and the song ended up being this prog-rock-folk combo thing. My initial plan was for this song to be much longer, but I got too busy trying to beat Sekiro at the time and I had to cut the arrangement short so I can meet the DoD deadline. Since then, I've gotten some new gear and plugins, and going back to completing what I originally intended might require me to re-record/re-mix most of the song + record the new parts. I know I'm too lazy to do that, so I decided to just leave it as it is. Here's the source usage breakdown: 0:00 - 0:39 = intro based on Hunter's Chance chords 0:39 - 1:14 = a straightforward take on Hunter's Chance 1:14 - 2:56 = The Landing, with some guitar solos and a 6/4 section converted into 5/4 2:56 - 3:15 = Hunter's Chance again

Remixer name: Bluelighter (ID 21840) Real Name: Guillaume SAUMANDE Mail: Game & Songs: Final Fantasy Crystal Chronicles & Starry Moonlit Night – Orgel of Water Composer: Kumi TANIOKA Interpreter: Bluelighter: Piano Comment: Hi OCR, Here is a piano arrangement of the song theme of Final Fantasy Crystal Chronicles. K. Tanioka really made an interesting work on this OST, completely played by ROBA HOUSE, a band of medieval music. Never heard in video game music! Arranging this in piano was a good way to feel the original mood of the song. Sometimes peaceful, other times rhythmed, this arrangement came naturally. It concluded by “Orgel of Water”, light melody perfect to finish the arrangement Enjoy! Originals Starry moonless night · 0’00 Melodic Line 1 · 0’33 ML2 · 1’00 ML1 · 1’25 ML2 · 1’53 ML3 · 2’25 ML4 · 3’09 ML1 · 3’34 ML2 Orgel of water : ML5 Arrangement · 1- o Peaceful o 0’00 intro o 0’13 ML3 · 2- o 0’40 ML1 o 1’06 ML2 o 1’28 ML1 · 3- o Rhythmed o 1’50 ML2 o 2’07 ML3 o 2’32 ML4 o Arpeggios 2’46 ML4 · 4- o Rhythmed o 3’06 ML1 o 3’30 free · 5- o Peaceful o 3’54 ML5

ReMixer Info ReMixer name: Foxarocious real name: Jonathan Wilson userid: 33483 Submission Info Name of game: Super Smash Bros. Melee Name of arrangement: Get By (Instrumental) Ind. song arranged: All-Star Rest Area Inspiration behind the song: A friend of mine used to belly dance and wanted a cool game-inspired song to do so to! She was originally asking for a "chill" version of the Rest Area song from Smash Bros...and I FREAKING LOVE SMASH BROS, so naturally, it got done. I also made it with the hope/knowledge that I would be writing this submission one day My thing for this was to make something that felt like you went somewhere and came back renewed, so you might find a bit of dissonance in the second verse that I hope isn't too distracting. In any case, I would love if you guys had notes for me on this. I felt like I could have worked it even more, but I probably would've just overproduced it. Thanks for the opportunity and curating all this nerdstalgic music! - Fox

Hi judges, it's me again! I did a lot of music in 2019 and forgot to submit most of it, so be prepared! Contact Information Chernabogue Alex Mourey youtube.com/Chernabogue UserID: 17636 Submission Information Game: Castlevania Bloodlines (Genesis) Name of arrangement: Christmasvania Name of individual song(s) arranged: Requiem for the Nameless Victims Comments: Another arrangement I wrote for a Pixel Mixers contest, this time for Christmas 2019. I enjoy doing something unexpected or original with my arrangements and turning a piece of Castlevania music into a Christmas song was an interesting challenge. Requiem for the Nameless Victims is one of my favorite video game tracks and a beautiful piece of music itself (especially for Genesis standards!): I had to cover it at some point and the end of the year was the perfect moment to arrange the credits theme from the game. Some instruments from the arrangement, such as the woodwinds, are from several Roland JV VSTs which were also used on Castlevania: Symphony of the Night; just some little trivia. Hopefully people will enjoy this arrangement on Christmas day and on any other day of the year. Have a great weekend! Alex

Hello all! I would like to submit an EDM style remix of "Rebel Army" from Final Fantasy II. This remix originally started out as a slower tempo electro remix but I actually enjoyed it quite a bit when I started to mess around with tempos. After a year of re-arranging it, I finished it. A cool tidbit is how I went with a triplet bases timescale. Enjoy! -Brink-of-Time Contact Information: Your ReMixer name: Brink-of-Time Your real name: David C Jacobson Jr. Your email address: Your website: https://brink-of-time.bandcamp.com/ Your userid: 3661 Submission Information: Name of game(s) arranged: Final Fantasy II Name of arrangement: Rebels Like to Dance Too! Name of individual song(s) arranged: Rebel Army Link to the original soundtrack:

First of all, well done on your first arrangement! The initial step is hard to pull off, but the satisfaction is indeed immense. However, I will caution you in that we won't go easy in assessing this and hope our feedback will help you improve for your next work. What impresses me more is that you picked a complicated source to arrange due to all the tempo changes thrown in and two distinct tempos. What you mentioned is what we get - a spacy prelude that uses the A section's melody as the basis, two straight run-throughs of the theme, and an ambient final third that added a gate to the lead. The clashing of styles makes it feel more abstract than expected from a more traditional sub, and that's not a bad thing at all. However, note that I said that you went through two run-throughs of the theme - and they're both identical in terms of notation and textures. Rather than repeat a previously introduced idea, consider writing it differently while still keeping that beat. You can find useful examples of this throughout the soundtrack to Banjo-Kazooie, to name an example - a very different game in terms of style, but the "multiple variations" aspect of the various music cues can spur some ideas. The mixdown is also very loud - and it clips at 1.1dB, with the biggest culprit being the main riff section at 0:46-2:16. It pushes through the ceiling, plus there's also a lot of pumping that happens just from the impacts of the kick and crash cymbal. See if you can bring down the sound levels for all of your instruments. The pads are also way louder than they need to be - they're supposed to settle underneath the lead instrumentation, so see if you can bring them down into the mix. And another idea to get the kick and snare to cut through would be to make notches in the EQ respectively for your bass and lead, as well as doing a low-mid EQ cut among your higher-pitched pads. Since this is your first arrangement, it'll be more of a good idea to add an EQ effect to all of your tracks, experiment with the settings, and see what works. Among the "first arrangements" I've seen, this one is a more unusual one thanks to its framework and source choice. Copy-paste is a concern, but the production values need significant improvement. Have a go at giving the mixdown another pass, lower all instrument volumes, and experiment with the EQ effect to provide all of your parts their own designated space. Feel free to check out the workshop, too - it can be a handy place to build up future work. NO

Alright, I'm going to have to chime in on this one as well. After Meteo stepped down, the duty of finishing this project had fallen into my hands. I've made steps behind the scenes to make sure things will progress - gathering as many WAVs as possible, getting in touch with artists who had prior claims, and figuring out ways to get more tracks in. As of right now, there are some updates to be done with the roster. Firstly, all but three WAVS had been gathered together - the Dual Dragons lost theirs, OA wasn't happy with how his track turned out, and PacificPoem has been unresponsive. Secondly, I got interest from Eino and Sagnewshreds in keeping on refining their work. I have contacted all others who had a claim, but no response - so any other claim will get freed up. Thirdly, a massive thanks to Artem Bank ( @redshojin ) for not only taking on Boundless Ocean, but getting a full track and WAV prepared in less than a week! Nevertheless, if you the web surfer - yes, you - is interested in claiming a track and can do so in the space of the next 6-8 weeks, send a PM to me in the Discord, or here in the forums if you don't have a Discord account. I share my sentiment with the artist collective on board with letting it see the light of day

This arrangement is simple but fun. There's a C section fade-in, one run-through of the source and another A section, some original solo work at 1:30, then back around to C and A to finish things off. With that structure alone, I can see where Wes and Brad are coming from with their "glorified cover" verdict - but there are some subtle changes. I sensed some different notation in melody B (0:35-0:58) out of human imperfection, some additional grace notation in the following C block at 1:06, and a writing variation two semitones up at 2:21 - so for what it does, it's not bad. Even accompaniment variations are subtle - the gated pad at 1:31 added a refresher to the prior equivalent area at 0:35, and the gallop rhythm guitar at 2:20 complimented the melody change-up well. I wish I would've heard more of it for the A section repeat at 1:08, rather than copy-pasting the equivalent section from 0:13. The balance, however, feels mud-heavy. I can hear the synth leads just fine, but there's this three-way mid-frequency war between the guitars, snare and pads. Making EQ cuts on one of these instruments can help the other two breathe within the space - or heck, consider transposing the pads up by one octave as an alternate idea. That second idea can also help fill in the crunch that this track lacks, along with completely re-doing the EQ on the hi-hats as they're the instrument mainly taking up the higher frequencies naturally. I also am in favor of slacking off on any master compressors or limiters. It's not as big a problem as the rough mixdown, but it could take the edge off the flat dynamics and offer more breathing room to help fix the low-mid issue. As of now, I can't see it on the front page in its current state. I have more problems with the production values than the arrangement, but it's worth going over it with your feedback. If you revise it, I'd like to hear less copy-paste, less audio sausage, and a much cleaner mixdown. It's still not a bad first submission, Lucian - and I hear potential from that. NO (resubmit)

I like the reed instruments and all the velocity work done behind them, but I also feel the lack of articulations here hurt them in the long run. Thankfully by now, you know how to remedy such an issue. Despite this, the sound design is an interesting one - a lovely choice of instruments as I usually expect. However, the balancing of these instruments feels half-empty due to minimalism in places, yet half-full in the sense of their satisfactory balance within the mix. Even with realism going into the uncanny valley, it's a sweet and delicate direction appropriate for a track like this. However, I'm going to have to co-sign on with Shariq and Brad on the arrangement. The interpretation is not only one run-through of the source with part of the final third missing but also has notation primarily straight from the source with only the re-orchestration sounding different. So I can't pass it on these significant flaws, I'm afraid. You have shown the capability to write a straight run-through and change up the accompaniment writing significantly to make it feel more individual - so it'll be great if you can do the same with this track too. Nevertheless, it's not simple to work with the lengthier source tunes of FF14, so I commend your bravery. But the lack of personalization is a big problem and an issue that doesn't appear among your work very often. It'll be nice to listen to this with the arrangement reworked - let me hear you. NO

I'm impressed with how you used the sources. The framework essentially boils down to ideas from act 2, then act 1, then back to act 2 and act 1 with entirely new integration - which is a sweet way to explore the similarities and differences between both sources. You allowed for transformations in the melodies to shape up this framework - and except for 22 seconds combined from the bookends, the VGM is present entirely, so no problems with dominance whatsoever. The backing element integration got used straight, however, but as they are responsible for carrying the source through when melodies are absent, there was no need to change them up in the first place. The production values aren't too shabby either. The choice of instruments for the palette is excellent and appropriate for the crystalline direction. The synths have some well-expressed envelopes and modulation as well, and the use of reverb is a fitting choice that compliments your sound choices. Much like Wes, I also sensed mud going across your leads, so the idea of putting EQ on the reverb can give a lot more breathing room for your bells and mallets. I can also argue that the synth leads are quieter in the mix than the chimes when it should ideally be the other way round, but whether this is an after-effect of the reverb use is hard to tell. Nevertheless, it's an enjoyable and meaningful romp. The source is more dominant than cars in a traffic jam, the transformations are engaging throughout, and the sound design has more pros than cons. This track is a worthwhile sophomore effort and one I'll be happy to see on the front page. Great job, Darren! YES

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Banjo Kazooie Song Title: Chill In Winter Songs Remixed: Click Clock Wood (Winter) The main lead is one of those oldscool electric organ piano things.

Hello, this is my very first time submitting something to OCR, so please forgive me if I do any mistake. I do plan to keep the Cubase project and files in case I'd have to change the mix or mastering. Remixer Name: Hashel Real Name: Julien Rosir E-Mail: Website: https://www.youtube.com/channel/UCcpgG0SRIUPuY-HSS_QWgBw User ID: https://ocremix.org/community/profile/33332-hashel05/ Game: Final Fantasy II Name of the Arrangement: Kashuan, the Legend of the Ancient Mushroom Name of the Song: Kashuan Keep (aka. Ancient Castle) Thanks!

Not one single source (and by extension, game) is present for more than 25% of the track's running time, so this'll be difficult to file under a specific game. We'll cross that bridge if the track passes. -Rexy RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Mario Galaxy, FF4, FF6, FF7, FF9, Zelda (series) Song Title: Empress Waltz Songs Remixed: Rosalina’s Observatory, Troian Beauty, Flowers Blooming in the Church, Zelda’s Lullaby, Garnet’s Theme, Wedding Waltz This is a giant medley of several themes from various video games, including Super Mario Galaxy, Final Fantasy 4, FF6, FF7 and FF9, and The Legend of Zelda (series). The original songs used in this arrangement are Rosalina's Observatory, Troian Beauty, Flowers Blooming in the Church, Princess Zelda's Theme, Garnet's Theme and The Wedding Waltz. It is a collaborative suite featuring live instrumental and vocal performances from 11 different very talented female musicians. The medley, which I've named "Empress Waltz" (an indirect homage to Strauss II's Emperor Waltz!) is meant to be a celebration of female virtuosity. I chose to include a variety graceful, Venusian, "queenly", feminine VGM tracks. This medley represents just over a year's worth of work between the 11 of us; there was a lot of love and care (and countless hours) put into this. For this reason, if you're reading this, I want to encourage you to explore everyone else's work, if you haven't already. Each person in this medley is an incredibly talented, dedicated musician, many of whom have themselves composed and arranged massive bodies of live VGM covers, in addition to various other interesting projects they've each worked on. The credits are below: Harp 1 - Samantha Ballard Harp 2 - May Claire La Plante Flute 1 - Brooke Ferd Flute 2 - P2 Sue Oboe - Brooke Ferd English Horn - Kristin Naigus Violins - PitTan Violas - Michelle Eng Vocals 1 - Tiggs Vocals 2 - Julia Henderson Vocals 3 - MatcHey Vocals 4 - PitTan Vocals 5 - May Claire Composition/Mastering - RebeccaETripp I know this one would be a little weird to categorize if you decide to post it, so I’ll understand if you don’t want to use it. Technically, the longest tracks in it are the Mario Galaxy and FF4 ones, so it makes sense to file it under one of those games if it does make the cut.