Rexy

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

Typically, I see autopilot as an issue that should get remedied in your current development - though, the source itself went through the A section four times before moving to another idea. Hence, it's a tricky territory to work with from the beginning. Those A section repeats got tamed from putting two loops on *either side* of B, so that's a helpful start. However, when the central motif at 0:25-1:15 sounds utterly identical to that for 1:56-2:46, autopilot remains an issue. The accompaniment for the comping section at 1:23 is also unchanged from the motifs surrounding it - and I can tell because of those matching audio pops (0:45, 1:43, 2:17). It is possible to keep the structure as it is, but have entirely different rhythms on all three segments, as well as performing another take on the central motif to use in the theme's return at 1:56. I do not deny the choice of instruments here - I'm assuming they were all recorded live based on previous discussions, and even then, they're both tight and organic at the same time. The balance is adequate, though the mixdown feels like it lacks in crunch. When a fair chunk of your mid-range instruments occupy the low-range (mainly the guitar and accordion), it's difficult to tell them apart. If you can emphasize another part in that range, then great; if not, see if you can find an instrument with fundamentals in the 2-5k mark to fill this void. The production values are a minor irk compared to the arrangement, which needs more development at this point. It'll be neat if you can find ways to vary the accompaniment and do multiple takes for live recording authenticity. The lack of crunch isn't as essential to fix, but should also be worth checking out. Keep going, Reuben - you've been posted multiple times before, and I'm confident you'll make it again. NO (resubmit)

There's easily some transformation going on here - the rhythms stayed the same, but it needed to remain the same for the adaptation to this entirely different key. The various run-throughs of the A section kept presenting the varying textures and energy in different ways, and B's use at 2:27 - soon turning into a call-and-response between source use and original noodling - made a fantastic way to use half-time rhythms to build the energy back up for the climax. I'm all for hearing a broodier take on what is otherwise a happy source tune choice, so sweet work turning it on its head! I had to think about the production values, somewhat. It's a clean mix, the recorded parts are artifact-free, and the presentation is similar to previous mixposts from you. The orchestral stabs aren't the most realistic ones I've heard, but the texture is firm and has a defined place in the mix. Additionally, the panned solo guitars starting at 2:27 should've been louder in the mix to stand up with the rest of the energy at that point. But then again, they are panned, on opposite sides of the stereo field - and that was a big help with finding a place for them to stand out against the other parts. Nevertheless, you shouldn't over-critique yourself - go with your wife's judgment! Seriously, the track is a fantastic twist on the original and has an adequate mixdown to go along with it. I'm all for seeing it on the front page - excellent job! YES

Contact Information ReMixer name: MET∆TRON Real name: Richard Heule III Email address: Website: https://metatronmusic.squarespace.com Userid: 30324 Submission Information Name of game arranged: 2064: Read Only Memories Name of arrangement: Saturated Media Name of individual song arranged: Media Blues Additional info: 2064: Read Only Memories is a cyberpunk point-and-click adventure game developed by MidBoss with a soundtrack by 2Mello. The game is heavily inspired by titles such as Snatcher. Link to the original soundtrack: https://2mellomakes.bandcamp.com/album/sounds-of-neo-sf-read-only-memories-ost Comments: This was made for the Pixel Mixers album, The Great Tale of the Little Ones Vol.2, which was a tribute to indie games. However, this version is a slightly different mix, along with an extended solo at the end. The song itself was inspired by old R&B sounds along with the TR-808. I wanted to take the original song and make it sound more sterile and "corporate", while giving it some kind of soul.

Name: M Benson Real Name: Mike Benson Game: Final Fantasy (series) Arrangement: Riddim de Chocobo Song: Chocobo Theme Website: https://mikebensonmusic.bandcamp.com/ Comments: I've long noticed the chords to the Chocobo theme (G-F-G-F etc) are a staple of reggae music. I used two famous reggae 'riddims' (The Hot Milk and Stalag riddims) and put them with the tune. I tried to use as many real instruments as possible (just the keyboards are fake) and tried to 'wark wark' on the sax at the end of the solo. Thanks!

I side with Mike here on the production values - this palette sounds excellent! The drums are meaty and appropriate for the disco direction, the synths all have such playful articulations, and the mixdown is super clean. The melody does sound like it's getting buried, particularly during the B sections - but the original already had some playful harmonies, so it's nothing too big to fuss over. The arrangement left me feeling torn, though. There's some neat underlying arrangement with additional backing parts and some minor timing adjustments on the melody, as well as doubling the A section in the first and third variations. There are some fun fills added to spice up the groove as well, and the Ottawan Band cameo was a satisfying transition into the third B section at 2:13. However, aside from these small textural changes, all three variations are identical in notation, wearing it out very quickly. There are several ways to make it feel more individual, too. An original melody over one of the loops, changing the rhythms of the accompaniment on another, sudden key or time signature changes - those are some quick ideas from the top of my head, and I'm sure you're capable of thinking of some other ones too. Don't get me wrong - it's a fun take, and the production values are golden. But the interpretation is minimal, and so I hope you'll get the chance to revise it with some fresh ideas. If you do, this could become a strong sophomore effort from you. Keep at it, Aimé! NO (resubmit)

I'm with Larry - the arrangement for me has always been a non-issue. The initial run-through has some minor melody notation shifts and altered textures from the original. And then, there's this second half going knee-deep into development ideas that caught my attention. I heard a brief major-key use at 2:15, changing notation and chords for the main melody at 2:40, and harmonies aplenty. What I find interesting about this one is that Greg is a credited performer, but the violins are the main lead - a risky move for VST instruments. They could've had more variation in the attacks (which are primarily slow) and the releases (which are mostly non-existent), but the timbre feels lush enough to get the job done. What had me going back and forth on was some minor production irks, wondering whether they'd be enough to be considered dealbreakers. Firstly, yes, it's a quiet mix with 2dB of headroom. Secondly, it's a drier mix than I expected, and it feels like everything got recorded in the same tiny booth. Thirdly, there was the issue with the violin's realism, as previously brought up and addressed. Ultimately I felt there was enough headroom to carry the ideas forward, and the dry mix felt offset with a clean and steady mixdown. In this state, I feel it's postable. I wouldn't call it one of the better collaborations between Rebecca and Greg - but the arrangement techniques on display and satisfactory production values are enough to see it get onto the front page. Here's to the rest of the vote! YES (borderline)

As is typical for progressive trance, there is a lot to take in for its lengthy running time. First and most importantly, you nailed source dominance by using every motif in the intro to fill in space between melody uses. I find it interesting that you used the bass rhythm in the source as an additional melody, first appearing at 1:24 and having some modified pitches every four bars to fit the style better. The initial arpeggio had some notes removed for the adaptation - and that got changed up further during the build at 2:36, adding in some 16th notes into the mix including one every four bars that step down to the G note more gracefully. Outside of this, the genre adaptation is way more straight-forward, and I can slide with it. What's important to keep this genre engaging is the sound design and the framework. Reason doesn't necessarily have the most engaging defaults to work with; for the most part, a handful of your synths have thin qualities to them only pushed up with subtle use of delay. I feel it'll be a good idea to see if you can layer multiple synths at once, and see what kind of fleshed-out textures would emerge. The framework starts well with some good trance tropes - the slow build of the beat, the breakdown at 2:16, and then back in with full energy at 3:00. However, from that point, there were no further breakdowns until at 6:00, where the drums became more breakbeat-like while going to the source's B section, all in anticipation of the climax and ending. The last thing anyone wants when listening to tracks like this is to tune out suddenly, so finding another way to break down between those timestamps can regain interest. The mixdown, however, needs more work. There are a handful of sections throughout with clipping at 1.2db maximum, the first one appearing at 1:24 and the most concentrated clips occurring from 6:21-7:25. Consider lowering your instruments' volumes or adding a limiter to your master chain if there isn't one already. Even with the loud master out of the question, you have some high-pitched sweeps throughout taking too much attention away from everything else, so see if you can bring them down further. Also, the high-frequency resonance on the synths is too strong and can damage hearing in its present high intensity. See if you can make EQ cuts to tame them. You may get some more detailed palette-related feedback from some of the techno-oriented judges, but what I heard was a potential club mix idea that ran close to outstaying its welcome. But the thin palette, loud mastering, and excess of high-pitched frequencies are worth addressing should you wish to keep working on it. Good progress so far, Robert - I await your next move. NO (resubmit)

Rebecca has updated the audio with a volume bump. I still stand by my no vote based on the vocal mixing, but those with conditionals and other no votes based on the initial mastering are welcome to revisit their decisions.

I imported the track into Audacity, and while I usually would see red marks where clipping would be, the software gave me nothing - it's entirely under the line. It does have a brick-walled sound to it, and yet despite this, I can identify all parts in the mix, and nothing seems to stick out. The main concern that I have other than the choice of compression is a questionable small frequency gap occurring between 300-500Hz and varies in size and location at different parts of the track. Usually, such a spot is an excellent place to emphasize another instrument if the mixdown is too muddy, but it's not the case and is not a constant issue. I also echo everyone on the arrangement - it's fun and rarely stays in on place! The source is dominant, primarily due to the arpeggio filling in gaps during melody absence - and the variety of underlying arrangement, timbres, sweeps, modulation and gates keep it engaging throughout. But do watch out for dissonance, though. 1:20, 2:40 and 3:22 have a B note in the melody like with the source, but the bass is in B flat. They sound weird, and I hope you can find a way to fix it before release, but I won't be opposed if it stays. As it is, I heard a stable arrangement with some minor intonation flaws and a loud master that luckily didn't break itself. Those values alone are enough to get over the bar, but I hope the experience can teach you both some things about the dangers of over-compression. Stay safe, and keep making fruitful efforts! YES (borderline)

I have no problems with the headroom, first and foremost. Yes, there are many spikes, and the average headroom would've been -6dB otherwise, but there's enough space for the pizzicato cello and hand drums to resonate in the mixdown. I found the mastering to be serviceable, too - aside from the chimes, the main melody instruments have got their presence in the mix, and each part has its place in the spectrum, which is intriguing to witness. I would've wanted the pizzicato cello's volume level lower down in the mix, but it established its purpose here otherwise. The articulations aren't the best in the world, with some more constant velocities across the board, and the woodwinds and synth voice not taking a break for air. But the vocal itself makes up for it with careful use of attack, release and vibrato, and the dynamic shaping takes advantage of the soundscape to accommodate multiple layers that drop in and out whenever they choose. The arrangement boils down to two loops with some gentle bookends using the A section. I appreciate how at the beginning, you decide to bring in just a few notes of the bell chimes in the A section to open, then have the full sequence ready at 0:16. Some subtle details went beyond simply re-orchestrating, too - the single bar of 4/4 at 0:35, the doubling of textures at 1:02 to add more emphasis to the chimes, and the alteration of the B melody at 1:38 as it set itself up to harmonize with the arriving C section with its false start at 1:41 and official use at 1:57. The tempo drop at the end almost left me paralyzed with how well you pulled it off - the feeling was like a cloud slowly evaporating into the sky, if you want a poetic nature metaphor. It's calming, it did its purpose, and there's enough substance to carry it through. Once again, I see the arrangement to be spot on with only a few small flaws in the production sticking out. In this form, the positives outweigh the negatives, so I feel it's done enough to make it over the bar and onto the front page, preferably with a chillout genre tag. Sweet stuff, Rebecca - you've probably cured someone's insomnia with this one. YES

Contact Information Remixer Username: Audio Mocha Real Name: Daniel Florez Preferred E-mail: User ID: 33297 Name of games arranged: The Legend of Zelda: Majora's Mask Name of arrangement: Surfing In The Haunted Sea Name of individual songs: Great Bay Coast Source materials: Comments: I wanted to give this traditionally creepy tune from the four lands of Termina an upbeat surfy twist. I realized that the melody actually had a pretty happy feel to it when played with less creepy-sounding instruments. Even though this song is heard in all four worlds in MM, I naturally wanted to associate it with Great Bay because it just makes sense it being a surf rock remix.

ReMixer name : Mole Machine real name : Jérémy Alcaraz email address: website : www.molemachine.net userid: 36466 Here is a cover of Legend of Zelda main theme I did. Thanks a lot!

The intro and first half of the first loop caught me off guard, with the melody sticking with A minor and the accompaniment going through a progression five semitones down. In fact, with some further transformation happening with added grace notes, playing around with the B section at 2:08, and no source-covered part sounding identical, it's an engaging treatment throughout. Add plenty of intensity into original melody writing too, I see it as a stable arrangement with nothing to change. Now, the production values are peculiar to me. Yes, it's a clean mix with careful balancing between all parts, but it's thin sounding overall. You have some ear-catching synths with multiple layers, but there are parts like your drum and bass that sound thin and can benefit from some additional textures or delay depending on what you see fit. Pads won't go amiss either, but that depends on whether their absence was intentional. It's also a dry mix, with a slight emphasis on your leads and rhythm parts that get obscured whenever the bass is in play. To take the edge off the dryness, see if you can add more reverb onto your leads and run a high pass EQ onto that same reverb effect, so it doesn't bleed into the bass. This track is almost there - it just needs another pass with some more TLC given to the soundscape. You've been quick off the mark with close resubmissions before, and thankfully you don't need to do any writing cuts this time. Keep at it. NO (resubmit)

Arrangement-wise, this track went through some fun places. It goes through one run-through of the theme, then further development starting at 1:44, culminating into an intense guitar solo at 2:29 that keeps the momentum going into the D section's return at 3:17 and an ending based on the intro. Hence, the source is dominant throughout and handled with good intent, with no segment repeating the same idea. I feel you should've watched out during the buildup at 2:51, with the backing brass breaking away from the chord progression halfway up the scale. Changing the G note in the sequence to F# is a quick fix and more appropriate for the D major chord at that measure. Alas, I am with Larry about the production - mixing is way too hot, with clipping at 1.3dB and pumping all over the place. Consider bringing down the sound levels for all of your instrumentation to make it easier for your master chain to process. With that out of the picture, the guitar tones are mixed in well with the drums and synth instrumentation - yet, not the orchestral parts. When present at the same time as the brass or string sections (or both), the guitars get lost in the mix - so see if you can make some adjustments to the EQ on any of these instruments to give them their own designated space. Different articulations for your orchestral parts would also be nice to have. You've demonstrated velocity variation thanks to your pizzicato strings at 1:44, but finding places for extra attack and release changes can further add realism, as well as slightly adjusting timings to before or after the start of each designated beat. With the rock part of the arrangement sounding solid, this aspect won't be a dealbreaker if not addressed in a newer version, but it is something that should at least get checked out. I do not deny the raw energy, and you're not wrong with the "fierce determination" direction. It's one that I'd like to hear on OCR in the future, but in a revised form that revises the mixdown. Bring the levels down, and look into both EQ changes and added realism for the orchestrated parts. Keep going, Devin! NO (resubmit)

Ooh, I remember being a second ear to this one! So glad to see you brought it to completion, Wes - I'm all for something more positive on the front page, and you know that. Indeed, this is an excellent treatment of the source. There is a single run, with the A section getting doubled with textural variations, plus there are some small and effective changes to the melody line as well. There's a variety of countermelodies, grace notes aplenty, some minor notation modifications that stay musically pleasing, and some added harmonies for when the situation calls for it. Playing around with said A section for the calming ending also felt satisfying and appropriate for this "getaway port town" feel you're going for here. And even the brief 5/4 bar at 1:52 felt organic and smooth - I wouldn't have guessed you were self-taught by the execution alone. The production values are pleasing, too - careful attention to each instrument's frequency space, a well-balanced mix, and a palette with an emphasis on mallets. Because of their lengthy tails, they are not easy to tame and keep to a clean mix at the same time - and I am thankful that you took my initial advice on board when you showed the initial WIPs because they sound so clean now. Great work! This track needs to head to the front page - a well-crafted take on a modest source, pushing more of your musical capabilities. And now this is making me want to go on a boat trip. YES [EDIT: 2020/08/06 - I heard the revision based on Brad's note mismatch critique. Even when comparing both side-by-side, I found it really tricky to catch the problem parts that he pointed out. Nevertheless, it still sounds fine to me here - let's get this posted.]

See, when I checked out the track, I felt the variance with this 10-second loop was more than enough to get it checked out on an interpretation standpoint. And indeed, there is - six loops in total, satisfying breaks between sets of two and subtractive contributions thanks to textural variation and some well-executed rhymes. The drum writing had also prevented any autopilot issues, with some careful embellishments to separate the first pair, and some more intense rhythms to go through the guitar section at 0:49. I loved how you "let the air out of the band" for the ending fanfare - proof that you wanted to get a laugh out of anyone who listens, and that just sealed the deal! Even the production values are tight - a clean mix, artifact-free recordings on the guitars and vocals, and is mostly well balanced. The vocals also have some strong effects for a thickened presence, with even some variance in filters letting them shine. Like with Chimpazilla, I would've liked to have heard the guitars go a touch further to the front, but it's no big deal in this case. I would've liked the track to have been longer, too, but it's hard to say no to a remix that did so much in such a short running time - something almost entirely unheard of outside of the first four years of OCR's life. Adrian and Marlon, you are remixing wizards, and I commend you for it! YES

First of all, great synergy and performances between you all! Everything sounds clean and tight, and there's some substantial attention to giving each instrument their own defined space in the mix. It's not a perfect mixdown as I would've wanted the drums further front and with a pinch more emphasis on the snare, but I can roll with this setup down to the closeness of the live recording setup. The arrangement, however, left me mixed. The initial treatment of the source is fantastic - transforming this simple 6/8 melody into 4/4 and with a shift into advanced chords to suit the progression. Even the last 45 seconds worked well with the Zelda theme cameos, plus a softer variant as part of the ending. However, the entire stretch from 0:34-2:49 has no source whatsoever. I get it - fun solos are a significant part of jazz, but the standards say that BGM must be dominant. And with BGM accounting for only 35% of the running time at best, more needs to be done with the arrangement to lift that quota. So here are some ideas I can think of to remedy this problem. You could get new solos recorded there and packed with many different Zelda BGM cameos. It could be possible to add another permutation of the primary source in-between the noodling. Or you could change the accompaniment entirely in one of the solos to that of the chord progression for yoúr primary source. I'd also be pleasantly surprised if you can think of any idea that I completely missed, so go nuts and see what works. It's a track that I would've liked to have seen got posted thanks to its excellent first impression and powerful performances all around. But if the remix is source light, I'm afraid I can't see it on the front page as it is. It'll be nice to hear a new version with more BGM usage down the line, but for now, I hope you get the chance to send music over here again - I see potential here. NO (resubmit)

CONTACT INFORMATION ReMixer name: Obscure Reference Band (O.R.B.) Band members: Matt Murphy () - drums, arrangement Nicholas Terelle () - guitar, mixing Liz Woolley () - electric piano Joseph Brenneman () - saxophone Bradley Mellen () (userid: 18643) - electric bass SUBMISSION INFORMATION Name of game(s) arranged: The Legend of Zelda: Ocarina of Time Name of arrangement: Severe Storm Warning Name of individual song(s) arranged: Song of Storms

Hello OCRemix Team, Here a submission of a remix from a game i love. Have a nice day. Best Regards, Benjamin Oziel. Contact Information ReMixer Name : Ben Oz Real Name : Benjamin Oziel Email Adress : website : https://soundcloud.com/benjaminoziel Submission Information Name of game(s) arranged : Megaman 2 Name of arrangement : Metal Step Man Name of individual song(s) arranged : MetalMan