Rexy

The mix clarity is excellent - one of the sharpest I have heard from you, and I can identify all parts in the track. I agree with Wes in that the dynamics are loud and constant - however, I also found the mixdown to be so loud it clipped very often, ultimately capping at exactly 2dB. So it's one thing to bring down the volume levels for your instruments, and another to weaken any compressors or limiters in the master chain so that the pumping gets cut back too. Ensure the volume drop is universal across all instruments - as I said, the balance checks out otherwise. For the arrangement, that first run-through isn't so much played straight, but got changed up nicely - the A section got duplicated, the B section cut the third and fourth bars out, and the C section copied the first half and discarded the second. The drums did mostly follow the same pattern, but I liked how the first half of C (0:41) had a different half-time beat going on. The C section's reprise at 3:49 had a fresh, rising bass effect, as well as some different bass writing - though, the B flat note at 4:09 clashes against the G major harmonies so you should consider changing the former. I also co-sign on the arrangement being very constant in terms of energy, so a break or two would be nice. What is a more significant issue with the arrangement, however, is that both theme run-throughs at 0:08-1:03 and 1:25-2:20 are entirely identical. If you want to keep the melodies, see if you can experiment with changing the pacing in the accompaniment. If you're going to keep the accompaniment as it is, either play around with the theme or put some unique synth comping over the top. Or you could experiment with different chords altogether while keeping the source's rhythms. There are multiple ways to experiment with making a second variation sound unique to the first, so see if you can find a way to make it stand out. You got some good ideas in there - but as it is, the arrangement still needs more development in regards to both dynamic pacing and changing up the second variation, and the mastering needs another pass so that it's not quite as loud. Sebastian, you're knocking so hard on that door - so I hope you get the chance to keep revising your work while birthing new ideas. Good luck! NO (resubmit)

As always, the execution is lovely. The piano tone and presentation is on par with Guillhaume's previous works, and the clarity is also a significant jump from prior submissions. The performance is also passionate and human, with a steady hand every step of the way. Though, the section at 1:27 with a sudden 11/16 (!) time signature felt very unusual for such an expressive work and would've been more at home with a full-blown orchestra rather than a solo performance. As it takes up barely 10% of the track's running time, I can see it as nothing more than an observation. What made me panel the track rather than direct post, like with "Heart of the Fire Clan" on the same album, was whether the source breakdown was clear enough. It took a handful of listens between then and this point, but ultimately I saw a handful of smart ideas. Breaking the A section in half was a genius way of separating characteristics, and so was experimenting with different keys, pacings, and dynamic variations. Ultimately, when I heard the melody presented like this, I felt way more confident with how it played out - and more respectable of Guillhaume's crazy writing prowess. So yes, it all checks out - a sweeping piano arrangement with an insane amount of twists on a singular theme and a robust render to boot. Let's get this on the front page! YES

Sup, I haven't submitted one of these in a while. Remixer: Ivan Hakštok Games arranged: Pop'n Twinbee: Rainbow Bell Adventures Name of arrangement: Mr. Green Hill Names of songs arranged: Distorted Fantasy, Green Hills - Blue Skies, Sunset Over The Hills, World Of Ice And Snow, Celebration Composers: Ken-ichi Matsubara, Yukie Morimoto, Saiko Miki This was an entry for the MAGFest edition of Dwelling of Duels. The theme was 1994 Month, and I ended up placing 3rd. I said this over and over in DoD discord, and I'll say it again here: 1994 was, in my opinion, the worst 90s year when it comes to video game soundtracks. I have a list of some 30+ songs I plan to cover sometime in the future, and none of them was eligible for this theme. Which meant I had to spend a huge part of the month listening to different soundtracks trying to find something decent I could cover, and when I found this game I had to again spend a lot of time on transcribing the sources. That left me with very little time to actually record this, not to mention I was away from home during the holidays. But luckily I managed to come up with something decent. This is one of my more conservative covers, and it might be a bit too medley-ish for OCR standards but I hope that's not a deal breaker. Guitars, bass and finger snaps are live, piano, synths, brass and strings were played on my MIDI keyboard (with some quantization because I'm not that good at keys). The only sequenced things are the drums and the doo-wops. My idea initially was to make a song in the style of ELO's Mr. Blue Sky, and since one of the sources is called "Green Hills - Blue Skies", I've decided right from the start that the title is gonna be "Mr. Green Hill". I've kinda strayed away from that ELO style but I've kept the title. Here's the source usage breakdown with links to the soundtrack: 0:00 - 0:10 = original intro 0:10 - 0:34 = rest of the intro, taking the chords from the first verse of Distorted Fantasy 0:34 - 1:16 = Distorted Fantasy 1:16 - 1:41 = breakdown into a piano solo, played over the verse chords of Distorted Fantasy (the solo piano melody line is also a small nod to T-Square's Omens of Love) 1:41 - 2:08 = guitar solo over the chorus chords of Distorted Fantasy 2:08 - 2:19 = guitar solo over an original section 2:19 - 2:51 = Green Hills - Blue Skies second verse and chorus, converted into a swing rhythm 2:51 - 3:27 = drum break into Sunset Over The Hills verse and chorus 3:27 - 3:43 = bass solo over an original section 3:43 - 3:59 = guitar solo over an original section 3:59 - 4:47 = World Of Ice And Snow verse and chorus 4:47 - 5:08 = Celebration, with a bit of added swing

Hello! I would like to submit a track for consideration by the judges. Thank you for considering my submission. Name of game arranged: Journey To Silius Name of arrangement: Cyber Chrome Name of individual song arranged: Underground Concourse (Stage 2 Theme) Additional info about original track: Original composer Naoki Kodaka, composed originally for Nintendo Entertainment System / Nintendo Famicom (as a game named Raf World) Link to original game music: Contact info: ReMixer Name: Kuro Real name: Brendan Schmidt ReMixer number: 15462 Email address: My comments on my track: I’ve always loved classic-era Sunsoft music for the NES/Famicom, but the music from stage 2 of Journey To Silius holds a special place for me. I thought this song would sound good as a synthwave/future-retro tune. I wrote a few lyrics that are sung by a Vocaloid, Gumi. I drew inspiration for the arrangement and lyrics from my feelings about a special person in my life, and this song is dedicated to her. Lyrics: (Whoa) It grows a little colder Don’t tell me that it’s over I thought I was stronger I need you (Whoa) I wish it lasted longer Can we be together? I’m crashing into love… …with you

Stuff: Your ReMixer name: tibone Your real name: Juliano F. Your email address: Your website: http://www.classicgames.com.br/ Name of game(s) arranged: Megaman X2 Name of arrangement: Wires of Sponges Name of individual song(s) arranged: Wire Sponge Theme Artists involved: tibone Sean Leffer Max Noel About the song: This started as a remix of Wire Sponge for the Pixel Mixers MMX Tribute Album "Mavericks of Destruction". I started arranging it as fusion-ish track, but the arrangement evolved into this more elaborate one after i invited Max Noel to play the bass and Sean did this great electric violin solo. Thanks!

- Dewey Newt (User ID# 34234) - Final Fantasy IX - "New Mage in Town" - Vivi's Theme - Pixel Mixers: https://pixel-mixers.com/ - "Beyond the Mist" album: https://pixel-mixers.com/2019/06/27/final-fantasy-ix-beyond-the-mist-tribute-album/ This cover was a track on the Pixel Mixers' Final Fantasy IX tribute album "Beyond the Mist". With this track, I wanted to try my hand at a little storytelling about Vivi's first trip into Alexandria. The story goes a little something like: "Vivi enters Alexandria and meets some locals. The locals notice his unique appearance and gather around him. With all this new attention, Vivi gears up to show off and... He trips. The locals laugh and walk off, but a small few stay to help Vivi up. Vivi then performs his trick, a beautiful light show of magic. Vivi then walks off to attend the play he has a ticket for." It's not the best storyteliing (or even correct based on the game's story), but it was enough to help me piece together a song structure, haha! The original theme had many glimmers of various styles within it, but the original would move on without developing those styles further. As such, I tried to extend these sections with the storytelling, and now have an orchestral, Middle Eastern-y, hip-hop, chiptune fusion track on my hands. It's not the easiest track to label with a genre!

There have been discussions regarding how to handle the ending fix, as Andrew is unable to do so due to his current work schedule. All parties have mutually agreed on a fadeout, which is something that @Liontamerhas stepped up to do. This track can now get moved out of the queue.

I like this jazz direction. It offered plenty of room to experiment with denser chords, additional countermelodies, and some pleasant-sounding e-piano textures. Arrangement-wise, the boys before me nailed their sentiments - aside from the ending at 2:21, the track looped itself. With a good 70 seconds rehashing a previously established idea, this arrangement turned out to be underdeveloped, and with that second loop in need of some shake-ups. Following on from the weird swing patterns, I noticed something else. The hi-hats are on a hard swing, but the piano notes themselves are actually in *straight* rhythms. So I feel it's not so much separate swing rhythms, but more like complete discord in the type of rhythm used. As for the production side, the levels themselves and mixdown aren't too bad, but the palette feels like it lacks crunch. The current palette leans heavy towards the bass and low-mids, leaving only the cymbals, guitar, and keyboard selection to go further up the spectrum occasionally. One thing that can help is transposing your saw synth up an octave so that it takes up some of that frequency space, rather than being masked in the background. Another thing is the prospect of adding pads, hand percussion, pitched percussion, or a combination of the three to fill that gap. As it is, there are some solid foundations, and your guitar performances are on point. But I also feel the track is not ready for OCR yet, with an underdeveloped and stilted arrangement as the main reason. The gaps in the palette is a secondary irk but should get looked into at some point. For the arrangement field, see if you can find a way to make the second loop different from the first, and figure out a more consistent rhythm pattern. You've got potential, so I hope you keep at it. NO (resubmit)

Original decision Hey Guys, Sorry this resubmission has taken a while to get to you, a few of our members have had significant life changes to deal with, then COVID...I hope everyone at OCRemix is safe and healthy! Thank you for all of your feedback on the initial submission. We've taken a close look at the mix based on the notes you provided, and made significant balance changes focused on bringing out the melodies and setting better levels on the drums. We also replaced some of the guitar parts to improve the overall clarity and provide space for the synth. We hope it addresses your concerns and that you enjoy the updated version! Please let me know if you need anything else from me. Thanks, Sam - Megalixir

Just so we're clear - aside from the source arranged, this track has no ideas borrowed from Zero Division's posted ReMix of the same name. -Rexy Dear Overclocked Remix team, Please find my submission information for the following track: Contact Information My ReMixer name: Darkpalace Audio My real name: Simon Weis My email address: My website: https://soundcloud.com/laguna_999 Submission Information Name of game arranged: Deflektor Name of arrangement: Cover your light Name of individual song arranged: Cover your light Comments about the mix: Recorded and mixed by Darkpalace Audio in Winter 2019. If any questions remain, please do not hesitate to contact me. I am looking forward to hear back from you. Best regards, Simon

Contact Info: ReMixer name: about:blank Real name: Chris Bouchard Email address: ReMix info: Name of game ReMixed: The Guardian Legend Name of individual song ReMixed: Dungeon: Area 3, 4 (Forest Sector Air Battle) ReMix title: Arboreality The Guardian Legend has been on my list of games to remix since I discovered this site by looking up the soundtrack on dial-up internet well over a decade ago. The forest corridor music is fairly upbeat, and I had always envisioned creating a fast-paced remix with frenetic keyboard solos, really loud snares, and so on. Once I actually sat down to make this, however, I ended up taking it in the opposite direction. The result is a slower, atmospheric take on the original. I made chords out of one segment of the original lead melody (at about 0:20 in the original) to create a "chorus," (at about 1:04 in the remix). The part at 2:01 strays a bit from the source material, but builds into a solo that leads back to the original melody.

Hello, here is my first submission for OCremix ^^. Contact Information Your ReMixer name : mWIND Your real name : Picart Clément Your website : https://www.youtube.com/c/mwind1 Submission Information Name of game(s) arranged : Zelda - Ocarina of Time Name of arrangement : Zelda: Ocarina of Time - Neon Woods (Lost Woods retrowave remix) Additional information about game including composer, system, etc. : Koji Kondo, N64 Link to the original soundtrack :

THIS IS FROM THE ALBUM PROJECT "Golden Sun: A World Reignited" - Didn't know how to do the warning Your ReMixer name: Lucas Guimaraes Your real name: Lucas Guimaraes Your email address: Your website: https://twitter.com/Thirdkoopa - knew nothing better to link for this Your userid (number, not name) on our forums, found by viewing your forum profile: http://ocremix.org/community/profile/33965-thirdkoopa/ Name of game(s) arranged: Golden Sun Name of arrangement: Hope in Eight Name of individual song(s) arranged: Venus Lighthouse Other people that helped: Jake Kargl, wolfman1405, Matheus Souza, TSori, Nathan Madsen, DS Music, Damian Nguyen Doing an awesome remix of a song I value dearly was already a hard feat, but when my mind started to mix Swing Jazz into it, I knew this arrangement would be one of my most difficult ones - both for me arranging and all performers involved. Luckily, I had some pretty ace performers by my side to bring this to life and surpass my expectations. The weirdest thing about primarily making arrangements/compositions is when I work on them, I want to make them sound as good as possible on MIDI. This one was one that sounded so good on the MIDI that I had a hard time imagining the final arrangement to be honest. -Lucas Guimaraes

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Legend of Zelda Song Title: Dungeoneering Songs Remixed: Dungeon

Artist name: Magnetic Ether My name: Karlyn Singh Email address: Userid: 22769 Name of game arranged: Secret of Mana Name of arrangement: Hair in the Wind Name of individual songs arranged: The Dark Star, Prophecy This was originally a submssion to MindWanderer’s “ReMixing with the Stars” competition on the forums way back in 2013. It only took me the better part of a decade to finish and record it! The arrangement was strongly influenced by the folk metal band Eluveitie and features tin whistle and melodica in addition to standard metal instrumentation. Is this the first folk metal track to feature melodica? Maybe*! We work with what we have, right? Honestly I’m glad that these were the instruments I had access to because they work together surprisingly well in this context. Overall the arrangement is relatively unchanged from its 2013 form. The biggest differences here include live instrumentation and some polishing of the drum arrangement. Source usage should be pretty obvious. I took some liberties with Prophecy’s main melody but I think it’s still plenty recognizable in this form. The Dark Star melody is also transformed quite a bit as I essentially turned it into a fast Celtic reel. Ultimately the arrangement leans a little more on Prophecy because the second half of the Dark Star source did not lend itself well to what I wanted to do. Oh and there are a few quotes from Fear of the Heavens in the middle because I can’t stop myself! The drums are death metal as fuck and one of my personal favourite things about this track. Sure it’s not really a death metal track overall but imo the drums give it the extra boost of flavour and energy that it needs and help it to sound pretty unique. All in all I’d say this track is pretty weird but I really like it, even 7 years after it was written. *probably not

Hey, that single loop got a great adaptation to this metal/chiptune fusion! The intro had some sweet added instruments gearing up to go, the B section at 0:29 got doubled up for other synth and guitar parts to sit over the top, the guitar solo at 1:03 was dense and carefully packed, and the drum writing overall felt engaging. However, after this single loop, you decided to start up a second one and fade out simultaneously. It's an anti-climax, it feels unfinished, and it's something that I would prefer a redo. The sound palette is an interesting one - a lot of the instruments are tonally similar to the original audio. Still, for the most part, many of them have a sound upgrade quality to me. The only thing that should be concerning is a direct use of the intro audio during the intro itself, but it's only eight seconds worth at best and is a small fragment of the rest of the track - so I see it as no big deal. As for the mixdown, the instruments themselves are balanced, and nothing's bleeding into one another. But the mixdown is way too hot even for metalcore - clipping at 0.9dB, and the guitar solo took the brunt of those distorted audio issues. I'm assuming you've set up a limiter or a master compressor, hence see if you can go back there and lax it just a touch. This track was a tough one to look through. It's got some great transformation behind that one riff of the source, and the performance chops are very fulfilling. But if this is to get posted on OCR, consider revising the ending and giving the mastering another pass. You've got potential as a performer, so it'll be great to see you submit again. NO (resubmit)

Oh man, the arrangement is a belter! In the original post, I listed the sources in appearance order, so it's straightforward to follow. And then there are small sections used as leitmotifs as the track goes along, so along with how well the themes fit in organically, it's a clear example of a medley that doesn't sound like one. It has a dynamic framework, steady movement from one source to another, and keeping this story-telling vibe going through to the end—very thoughtful stuff. However, I concur with a fair chunk of Wes's production issues. The lack of crunch on the guitar tone makes it feel empty when it's not doubled up with a synth, the shaker is too loud in the mix, and it's interesting to see compression brought up because this track clips at 0.3dB, dominantly in the last 90 seconds. It all adds up for the mixdown to get redone and see if a master chain can get set up if there isn't one already. The synth tone didn't concern me so much as it's not a dominant instrument in the grand scheme of things, but it would be nice to add another layer to the one you already have - and is worth seeing if you can do the same to the bass in the intro to ease its exposure. It's a stable arrangement - compelling in the grand scheme of things. But before I can see it get posted, I'm in favor of a mixdown revision, potentially with some added layers. Keep going - I want those production values to melt my face off as it did with the writing! NO (resubmit)

This track is a peculiar case - arrangement-wise, it's one of the most conservative ones you've done yet, going through only one loop of the source before a sudden ending. Thankfully, Greg's woodwind performances added a lot of involving harmonies and countermelodies into the mix. The live instruments as a whole are tight as ever, and the variations in textures both suit your style and the track's framework. However, there's something about the mixdown that feels weird. First of all, why does the piano have a soft attack? I can understand if this track was more experimental rather than your regular folk, but it feels really out of place. If this is a real piano, try opening the lid before recording it so you can get the more natural attack; if it's a VST, there'll be a knob somewhere to adjust that parameter. Secondly, the mixdown feels bass-heavy and empty in the mid-section. I believe the biggest culprit of this is the reverb on your kick drum, resonating the entire audio spectrum rather than a set region. Ideally, you can try to high-pass the effect while keeping the dry signal as it is. As for the scooped out mids, you have indeed allowed Greg to take up some of that room, but you can still add some further body to your guitars and accordion to fill in that space. Make sure they don't blend into one another as well. It's not the most exciting arrangement I've heard; considered barely passable thanks to the choice of textures and Greg's additional melody work. But the key issues on the production side - the bass-heavy mixdown and weird piano attacks - are both dealbreakers here, I'm afraid. It'll be nice to hear another version with a revised mixdown and some more natural attacks on the piano. Keep going, mate. NO

The arrangement plays conservatively but does a lot underneath it to give some character. Firstly, the post-rock adaptation allowed for some beautiful underlying texture work and those equally dreamy guitar tones taking center stage. The guitar solo at 2:41 not only caught my attention with how organic it fitted in with the rest of the writing but also effective use of polyrhythms and short rhythm stabs to build up energy before the climax. Unlike Wes, I didn't notice any of those harmonies until closer to the end, but that's not a bad thing - with a framework that has a natural dynamic evolution and different approaches to the textures across both loops, it's tough not to like. I echo my sentiments with Wes and prophetik on the production values too - really well-mastered, no instrument out of place, and you've taken advantage of so much space when making the genre adaptation work. The performances are great too; however, there have been moments where the guitars and snare don't always align on the beat - so not the tightest playing I've heard, personally. The more I listened to the track, though, the more I saw it as a background irk that otherwise can't tarnish everything else it has done right. Nevertheless, this track is excellent - an evolving treatment of the source, with some superb production values behind it. Let's see it get posted! YES

Contact Information ReMixer name: Reuben Spiers Real Name: Reuben Spiers Submission Information Game: Xenoblade Chronicles Name of Arrangement: Camping in the Winter Nights Name of Original Song: Valak Mountain (Night) Ft. GameroftheWinds on Piccolo and Flute. What a lad.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF13 Song Title: Transcendent Discovery Songs Remixed: The Vestige This was mixed/mastered by Nabeel Ansari.

I side with Larry regarding the arrangement. It's straightforward and moves from one source to the other (and back again) with non-existent transitions (though the second one was better in terms of dynamics), but the solo writing and texture changeups as time went on more than made up for it. Sonic 1 boss had different variations and solo writing on both sides, so an excellent way to break away from autopilot while keeping with similar ideas. The Sonic 3 boss section also had some enlightening harmony choices at 1:48, starting with separation by thirds and then by sixths - the latter being especially unusual for music writing. 2:46 also had the smart idea of putting the first two bars of its A section over the chord structure for B, so it's great to hear Andy knew the source well enough to scramble it around! Now, hold on a moment regarding the production values, though. Firstly, I'd have to disagree with Larry regarding the mixdown. It's mainly even across the board save for a touch less low-mids than I usually expect - but the amount of bass is unusually high for metal. That's not a dealbreaker as I'm at least able to hear everything, but it will send subwoofers into a frenzy. For the most part, the balance is robust, emphasizing the right instruments in the right places. However, the Sonic 1 boss bookends both have some uneasy distorted crackles throughout, and I suspect they weren't supposed to be in the mix from the beginning. These crackles account for less than half of the run-time, and with a small amount of headroom, it's hard to tell their point of origin - and all I know is that it's not from clipping. I want to like this track - honestly, I do. It's a great genre adaptation with some tight performance chops all around. But the distortion in the bookends felt too distracting for me to give it full approval just yet. This issue is something that I hope Andy can take a small amount of time out to remedy - and only then would I feel confident enough to see it get posted. [EDIT: 2020/12/11: Having read the other judges' feedback, I took a further listen and analysis, and realized I went too easy on the mastering. The heaviness of the bass actually held back the impact of the drum kit, the scooped out high frequencies cut out any presence on your lead guitar and drums' overhead, and the amount of over-compression has led to a stuffy mix. That said, this track definitely needs another mixdown pass if it's to get posted. The arrangement is great, so that should stay as it is - but I really hope that Andy will see everything we dropped on this track and find a way to give it the sheen it truly deserves.] NO (resubmit)

Arrangement-wise, this plays safe with some fresh ideas thrown in. While you've used a VST guitar rather than the real thing, the tones you picked out worked for this pseudo-surf vibe you've got going on. You've got the slide at 0:05, the melody drop-out at 1:14 in favor of a call-and-response between the toms and beat and fast string strumming emphasis, and a build-up on low strings at 2:08 over the B section's bass. Said slide at 0:05 showed that you'd got a decent ear for articulations, though it won't hurt to explore more of what your synth guitar VST can do. However, the three straight renditions of the theme (0:10, 0:42, 2:40) all sound tonally identical, with the only difference being where you placed the snares. I can see you tried to avoid autopilot based on percussion, but see if you can do something similar to the rest of the instruments. The mixdown also has room for improvement, unfortunately. First of all, this track got rendered way too hot - clipping at 4.2dB, with the slide guitar intro taking the brunt of it. Consider bringing down the sound levels for all instruments, or putting a limiter or compressor into your master chain (or both). The drums feel like they got pushed too far behind, the guitars too far up, and the bass further than it needed to be - so see if you can take that into account when lowering the sound levels. Stereo placement is also odd, as there's a slight emphasis on the left ear. That could get remedied by just bringing down the volume of those stage-left instruments so that they're more even with the right. I also feel the rhythm guitar is lacking fullness, too. It's an appropriate tone for surf, but some fullness can help fill in this low-mid gap in the mix, so see if you can experiment with that. It's not a bad start, André, but it's not ready for the front page in this form, I'm afraid. It'll be nice to hear a revision with less autopilot, further development on the theme itself, and a complete mixdown revision. Keep going and keep growing! NO

Naturally, this isn't so focused on melody, but more on generating background textures underneath the source - and that's something I've seen Rebecca pull off so well. As Larry pointed out, the string padding in the source got swapped over for some more ambient pad work and the occasional bell flourish - and the string stabs additionally got re-orchestrated for woodwinds. I also noticed that instead of the tempo dip that was in the source, the bell melody at 0:58 stayed locked to the tempo - a stiff direction, yes, but a transformation nonetheless. The slowdown at 1:51 felt more organic and served well as a segue into the A section's return. I also wasn't too crazy about the ending from 3:08 onwards being source-free outside of the chord progression, but the low timbres and volume shaping did their job in gently bringing the calm to a close. This mixdown is an interesting one, too - not a lot actually happens in the mid-highs and highs, but when something does among the arsenal of pads and bells, they well and truly get a moment to shine. The instruments are well-balanced save for a low-mid overload from 1:09-1:31, and the woodwind articulations feel so lush and blend with the already pleasant-sounding pads and percussion. I wouldn't mind a cleanup in that section before posting, but I won't be too concerned if it gets left alone. Nevertheless, this is an example of working with so little and developing something worthwhile - experimentation with different textures and pacing, all placed on a pleasantly produced palette. Through Rebecca's development with both this and earlier new-age arrangements, she's become the audio equivalent of a masseuse - and I am thankful for it. Solid stuff. YES

The main reason I brought this to the panel rather than marking it as a direct post got down to whether the source presence is enough. And yet, here's what I ultimately picked out: 0:19-0:57 - Clear use of the melody 1:27-1:29, 2:34-2:36 - Slipping in the theme during the bridge 1:40-2:00 - Clear source again 2:05-2:24 - Playing around with the motif during the breakdown. The second and sixth bars went source-free - thus, I will deduct 4 seconds from the total. 2:43-3:02 - Repeated chorus. 3:02-3:40 - Just like the 2:05 section, this played around with the melody (albeit in a different way), and similarly, the 2nd, 6th, 10th and 14th bars in sequence went source free. Remove 9 seconds as a result. 3:40-4:00 - Call and response between source and non-source for ending. Deduct 10 seconds to accommodate for this technique. Ultimately, these calculations gave me 55% source - so I guess I shot myself in the foot when looking at it initially. Inboxing mistake aside, this arrangement has a lot of the hallmarks of being a quality mixpost. It showcased the best of both worlds in both melody preservation and transformation (as broken down above), a genre adaptation that allows it to stick out from Toby Fox's writing and keep to standard songwriting tropes, and some tight performance chops from your guitar and the vocal volunteers. Throw in a seamless mixdown with identifiable instrumentation and steady balance across the board, and we've got something exceptional here to present on the front page. Again, I am sorry for not realizing this is too good for the queue from the beginning! And I hope the listener base for OCR will feel the qualities as much as I did - excellent job! YES