Rexy

Hi, Here's my submission of a track from Final Fantasy IX. Submission information: Game: Final Fantasy IX Arrangement Name: The Ritual Song arranged: Eternal Harvest Additional info: track 19 from disc 3 of "Beyond the Mist" by Pixel Mixers Contact information: ReMixer name: infinitytone Real name: Karol Kosacki Website: https://www.youtube.com/infinitytone userid: 34463 Hope you have fun listening and have a great week! Best, --- Karol (Charles) Kosacki https://www.youtube.com/c/infinitytone http://infinitytone.com

Hi dear judges, here's a new one for you -- I might send a few since it's been a while! Contact Information Chernabogue Alex Mourey youtube.com/Chernabogue ID: 17636 Submission Information Name of game(s) arranged: Castlevania II: Simon's Quest (NES) Name of arrangement: For Blood is Eternity Name of individual song(s) arranged: Bloody Tears Comments: This remix was produced for Halloween 2019 during the Pixel Mixers monthly contest. As it may have surprised no one, I love Castlevania, but I never took the time to arrange some of the more iconic themes from the early games, and especially Bloody Tears, which was already covered by everyone and their mother. Orchestral arrangements of this piece already exist here and there, and I wanted to make something more original. I decided to slow it down to be able to bring every out every little detail you can hear. I focused on trying to create an epic and somewhat sad atmosphere which feats the narrative of the game: Simon Belmont, now cursed after defeating Dracula, has to resurrect his worst enemy to lift the deadly spell. That kind of plot is inspiring and trying to bring it out through music is more than a challenge. Hopefully a challenge listeners will enjoy. Hope this is all good Have a nice weekend! Alex

Remixers Name - Blue Metal Machine Game - Godzilla Monster of Monsters_NES Console - Nintendo Entertainment System Composer - Masatomo Miyamoto Song - Earth (Level 1) Arrangement Name - 3rd Planet From the Sun Growing up as a Godzilla fan the NES soundtrack was unbelievable to me. An easy first pick for my first remix. As with most of the wonderful NES music theres need to extend the song. So simply added a prologue and epilogue around the original song. The intro I provided a spacey type feel, allowing a lingering build up to the energetic feel to the song. I wanted to provide a close representation of the meat of the song, but for the progression I drop the beat with a smoother bass line than the original. I resampled the main riff for intro and breakdown, adding a standard Waha effect for the breakdown and allowing it to ride out from there. A true joy to cover this song and plan on doing the whole OST.

The treatment of the source is gritty and exciting - I appreciate the use of backing synths to carry section A's use, and then the B sections (0:41, 3:03) transformed the source into the Persian scale, and with different chord progressions to boot. Keeping the rhythms of the motif and changing the mode gave the melody use there a more unexpected character and worth using as a hook. The A-sections (0:13, 1:21) had drum writing variations, with the second one having great use of double kick to build up excitement leading into the first guitar solo. Both guitar solos serve well for differing purposes - the first to lift energy before the breakdown at 2:16, and the second to slow-burn into the B section variation at 3:03 and the livelier synth writing present. The only questionable thing about the arrangement is the ending and how it just fizzles out, but that's more of a subjective point of view. It's still a remarkable use of the source, and additionally, some stable construction of the framework. The production values are also as sharp as I expect from you - well-recorded guitars, clarity across the mix, and some sweet envelope / keyswitch work on the synths that give them life. The balance is also firm - though, I would've wanted the synth lead during the A sections to get dominance over the rhythm guitar as they're the ones carrying the source. Said synth also is going slightly overboard on the resonance throughout, though I can chalk that up to genre inspirations. For me, there's a lot to love about the track overall. Tastefully edgy production values, a fun mixture of straight use and differing modes for melody representation, an engaging structure, and clean performance chops all contribute to a fun listen overall. I feel it's set for the front page in this form and should make an entrance with a cry of "cowabunga." Excellent work, Mak! YES

The production values off the bat are enjoyable for EDM / Dubstep. It's reasonably balanced, no instrument is louder or quieter than it needs to be, and the articulations and effects on the synths are a lot of fun to hear. The dub bass at 1:14 did sound like it lacked a body to match with the sibilance on display, but it's a nitpick if this is the intended tone that you picked out. Arrangement-wise, it had a strong start with going through a slow build for one part of the theme, then using the A section's melodies with the C section's chords to go into the groove proper. The source did get dropped at 1:14 in favor of a dubstep bass solo, adding more tension before heading into the breakdown - however, it's at the prior break at 1:29 where the track re-treads previously established ideas, so much to the point that 1:59-2:29 sounds completely identical to 0:59-1:29. Aside from the drum fill at 1:36 and usage of the A section's melody at 1:44 (effectively doubling the 1:59 part), there's nothing new in this second half. It's possible to keep the source placement ideas while adding in some entirely different textures and rhythm patterns underneath. A completely different dubstep bass spot at 2:14 wouldn't go amiss either, to give that section its own separate identity from 1:14. It's not a bad effort, Ben - you've gotten the grasp on what makes a remix works from a technical standpoint. But that second half needs a writing/texture refresher to make them feel different from the first half. It'll be nice to hear another version that addresses this flaw - but whatever you decide to do, keep going with your craft. NO (resubmit)

Production-wise, this track is nicely polished. I know it's weird for you to say that as it took years to get into this form, but trust me. The frequency spread is slick, the instrument balance is spot on, and the effects - whether it be vinyl crackling, bit crushing, or temporary EQ filters - added their parts to add not only air but also sonic interest. Even the synths themselves have great uses of LFO to varying degrees to maintain engagement in the soundscape. It's as if the lengthy creation time was well masked. The reason why I paneled it was wondering whether there was enough source to make the whole thing work. I appreciate the breakdown, but the verse and melody sections brought up are too far detached from their respective segments to be recognizable. Yet, the call-backs to the plucked melody and the bridge focusing on the original's chords are true to form. With this in mind, I can't count the verse and chorus in the source breakdown, leaving it with less than 40% of recognizable VGM. It's a simple fix to get the dominance quota up, really - you could change the pitches in those two sections, so they're more in line with the original writing. Nothing else needs to change otherwise. Honestly, I was holding back on this one for so long, based on this source dilemma. Don't get me wrong - the production values are a commendable effort, and I enjoyed them every step of the way. But if I still can't hear half of your intended uses several months after paneling, then I feel it's not ready for primetime just yet. If you can alter the verse and chorus sections, so their melodies are more recognizable, I'll be more than happy to listen to it again. NO (resubmit)

Name: Michael Hudak Game arranged: Stardew Valley Song arranged: "Fall (Ghost Synth)" Original Composer: Eric Barone Name of my arrangement: "Tomorrow's Starting" Source track: The Stardew Valley OST made me want to get into writing music again back in 2017 when a friend gifted me the PS4 version of the game while I was living in Japan. The soundtrack wasn't technically astounding, but each song was so incredibly appropriate to what was on screen in terms of art, story, and general aesthetic. I dug deeper into things and read that Eric Barone (ConcernedApe, the composer and also sole developer) used Reason for composition purposes, which was one of the less CPU-hungry DAWs, and one my darling old dual-core Asus SonicMaster could actually handle before I could afford to replace it (so long as it was fully charged AND plugged in!). So, I bought a copy of Reason 10, and started writing songs again after several years away. I started to revisit OCR too! My version of "Ghost Synth" started as another synthwave track, but after stumbling upon Mattias Holmgren's fantastic post rock tutorial video, I decided to keep the same tempo and general structure, but change the instrumentation. I'd been wanting to add more live guitar and bass to my songs anyhow, so I had to use some of his ideas. Addictive Drums has proven to complement the kind of slower playing I like really well. After finding the proper reverb settings for the pads and guitars, this track basically wrote itself! As usual for me, I went gentle on the mastering side of things. The title "Tomorrow's Starting" is a partial nod to Mark Hollis from Talk Talk - he co-created what is now known as the "post rock" genre with the Sprit of Eden and Laughing Stock albums - though an earlier Talk Talk track from the It's My Life album is called "Tomorrow Started". So, thanks to Mark, Mattias, and especially Eric, of course. And to YOU!

I don't mind the palette at all. A lot of the timbres are appropriate for synthwave, the percussion is as sharp as the genre expects, and there's some good volume envelope work for dynamics. I agree with Wes's sentiments regarding layers - yet it's for a completely different reason. The mixdown, while nicely balanced, could benefit from some added air, as otherwise, only the hi-hats seem to add to it. Hence, those leads could get doubled up with a more resonant synth transposed up an octave, which should have a low volume level compared to the rest of your instruments. A synth like that would give them some needed mid-high presence. The arrangement left a lot more question marks, though. Melody-wise, the two run-throughs (1:05-1:49, account for 39% of the track's running time - but one of the synths also uses the first three notes in the A section's melody as part of the arp (0:24-0:37, 0:44-1:05, 3:24-3:44) and accounts for another 24%. There's not much done here outside of that and the genre adaptation, but it's still serviceable. However, the repeated sections that Wes brought up are problematic - and with one of them affecting source use as well, it's a sign that the track still needs more development. You've got the geist of it with adding a low pass on the drums during the second loop's B section. Other ideas I can suggest that could potentially fit here are added harmonies, a countermelody, or even variations in the accompaniment writing. As an idea, this track sounds fun, it's got some appropriate tones in the palette, and you nailed the volume balance. But when the mix feels lacking in the mid-highs for a fair chunk of it and half of its source melody use on a repeated idea, little things stack up to having to send it back. A second version would be good to hear - with a way to add more air to the EQ curve and changed up writing on the second variation. Clément, I see potential with you - so I hope you keep going with your craft. NO (borderline / resubmit)

Yeah, this is a melodically conservative take, so I have no problems detecting the source. Aside from the synthwave direction with the choice of instruments, there's been some careful additions of backing pads, additional rhythmic synths in the bridges, and adding accents to the rhythm part leading into the two melody sections. Structurally it goes through the first two melody sections straight with the bridge between them repeated - but then goes into an exciting break at 3:16, which serves as a dynamic way to build into the Vocaloid use at 3:50. I admit it sounds uncanny hearing English lyrics when the software caters more to Japanese pronunciation. Still, the usage is minimal and pairs well with the guitar solo to round out the final minute. Like with Wes, the ending doesn't bother me, as I expect a lot of 80s pop to end similarly. It's a well-produced package, too - cleanly mixed, all parts identifiable, and the timbres picked out are appropriate for synthwave. I want to give a special shoutout towards your choice of snare - it's surprisingly rich for being so low-pitched, and there's enough punch to pack through the mix and fit well with the lead guitar and Vocaloid. In my opinion, I would've wanted your lead guitar to be a touch louder in the mix. But it's not a dealbreaker in this case, as its position in the mix had an emphasis on mid-highs, which hardly any other instrument touched. As it stands, this is a great sophomore effort. It showcases more of how far you can go arrangement-wise while keeping interpretation minimal, how adaptable you are to other types of EDM, and how fearless you are at finding ways to make Vocaloid soundbanks work in context. Excellent work, Brendan! YES

The idea to transform stage 1's music to fit 2 is a fresh approach - treading a delicate tightrope between stylistic adaptation and conservation. Structurally, the track goes through one run-through of stage 2 with a cameo for stage 1's intro, then straight into 1 with the same key and time signatures as stage 2. The harmonics at 2:27 was a great touch to break up the C section's natural monotony, and a great way to demonstrate your performance chops. The return to stage 2 at 2:53 also was strong with an elaborate drum fill to lead into the theme proper, before going into a variation with tweaks in drum fills and lead harmonies. The use of stage 1's D section at the ending with the breaks was also sublime and well-executed. If it's not apparent, I feel like I've gushed at all the writing details - and for that, I see it as a substantial improvement from what I previously heard through your prior Faxanadu mixpost. Unfortunately, I do have a question to ask - what happened with the mixdown? The levels are spot on, the performances are tight, and you've cleanly recorded all live instruments - but the audio quality has a fair chunk of buzz, with a critical factor being that it clipped at 0.7dB. Hence, you mixed the track too loudly, so consider bringing down the volume levels for all of your instruments. Additionally, the mixdown also feels muddy, making it difficult to hear your more sustained rhythm guitars and your snare - so see if you can adjust your EQs so that you can let your guitars and separate parts of the kit have their own frequency space. Honestly, the arrangement has a lot to love - but I can't see it getting posted unless the mixdown gets another pass. I hope you'll be able to take action on this - we haven't had an Ironsword mixpost for 17 years (!), and to see a new one after all this time would be amazing. NO (resubmit)

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