Rexy

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

The transformations here are lovely. Changing the key from a modified Lydian scale to straight-up minor key immediately changed the source's character to something less ominous and more solemn. The same is true for the arpeggio's pacing remaining as it is while bringing the melody into half-time for the first 90 seconds. The framework is well structured too - the melody's restoration to standard time at 1:28, the violin countermelody at 2:03, and the bass drums from 2:40 onwards have shaped a robust dynamic curve while still keeping both the source modification and melancholy mood. On a personal note, this track made me feel emotional just listening to it - so consider that a worthy accomplishment! The execution is excellent, too - a well-balanced mix, a suitable mixdown with layers aplenty, and great attention to dynamics during the track's running time. Your pads, chimes and piano all sound great with appropriate broad reverb, subtle note overlaps, and a careful spread of velocities to keep at its emotive level. The violin, while not the most realistic one I've heard, has substantial attention to detail with vibrato, slow attacks, and equally well-shaped releases. The only issue I have is with the ending tail, which suddenly cuts off - something that I'd like a fix for before getting posted, but is no big deal if it doesn't. I said during my vote for "The Princess and the Wolf" that I wanted to hear more interpretation beyond a subtractive level - and this track ticked that box. Pair it with emotive writing and execution, and this is a mighty sophomore effort. Beautiful work, Danilo! YES

That arrangement is definitely on point! The bossa nova direction with added harmonies set a fantastic first impression, and the fresh additions didn't stop there. The segue to DK Isle at 2:03 felt organic and combined with the melody phrase spacing until 3:03 that one source got a creative transformation. The tempo change and jazzier reprieve for Gusty Garden at 3:56 kept things refreshing as did the rubato piano section at 5:27; and the climax at 6:31 with the eventual "you got a star" jingle reference dynamically drew things to a close. I find it amazing that even though the structure is essentially A-B-A, there's so much to love with multiple genre adaptations, subtle melodic tweaks, and the shaping of the framework. Fantastic teamwork, all! Now, the mixdown is an intriguing one. A lot of the sharper instrumentation (particularly brass) is over on the left side of the stereo field - but it becomes less problematic as more rhythm parts, woodwinds and muted brass appear from the right. If anything, it feels like a more organic live setting. Yes, the mixdown also feels bright, particularly on the brass and cymbals - but nothing got damaged, and I see it as a necessity to prevent blending into other parts of the ensemble, so good call. The recording quality across all parts is clean too, and the performances are tight, so even with the steep headroom taken into account, it's a good production. I, too, am all in favor of seeing it get posted - but that's providing John can do the volume and silence fixes. People need to sit back and enjoy it, champagne in one hand, and a wristwatch on the other! [EDIT 2019/05/28 - John sent me a revised version with not only the volume boost and silence cuts, but also addressed Wes's drum mixing critique. I'm delighted to see it get posted now.] YES

Now, this is what I call an example of making something substantial out of something so minimal! Once again, Rebecca took the "two variations" route with the arrangement - but in this case, the melody treatment feels unique on both sides, and some of the phrases even got developed multiple times with some occasions involving multiple lead part switches, before moving on to the next. MindWanderer nailed the description better than I can - taking all the silence out and remixing what's left - which is basically what the listener will get. As of today, we've also got an updated version that bumps up the track volume - so I'm glad to say that the headroom issue got fixed. The mixdown is clean, nothing is poking out on a volume perspective, and the velocity variations and sustain control feels very human. I'm with prophetik on the rigid timing, though - not only on the piano but also on the other instrumentation. Hence, I would've preferred the pacing to be more rubato-like, but it's no big deal when many other aspects got done right. Nevertheless, it's an explorative treatment of a source with little content - and with the polish sustaining it, I'm all in favor of seeing it get posted. Good work! YES

This track originally got submitted in September 2019, but for some reason it never got to the submissions inbox itself. The brevity may be a concern, but I feel it's done enough to keep a 10-second loop interesting, and so I find it worth a shot for judge feedback. -Rexy Contact Information ReMixer name - Seizure Machine (Marlon Sinvergüenza and fxsnowy) real name - Marlon / Adrian email address - website - seizuremachine.com userid - 36273 Submission Information Name of game(s) arranged - Super Mario Bros 2 Name of arrangement - Birdo's Revenge Name of individual song(s) arranged - Boss We were inspired by Birdo's egg spitting. Lyrics : I was just kidding JK… Rollin’! Up on my nemeses Vacate the premises I take vacations in Hades with Hades Make booties shake like the… Ground in Haiti Hercules, you’re an obsolete hero Jesus is a copy Scorpion, Sub-Zero Sailors hear the siren song that you relish I killed Achilles cause I have a foot fetish! [break] Now, we’re back and the beat’s on full blast I take over these streets like Critical Mass Divide by volume You’re so fucking dense Your cranium’s uranium Mine is hydrogen Conquest, I navigate Port and starboard I’m so fly like the motherfucking Conchords Conker had a bad fur day, didn’t shave My dick is Donkey Kong with a condom for a cage!

Working with a minimal source is always going to be challenging, so I respect your decision to do the "two separate variations" route on this one. I can see what you aimed for - keeping the notation while making some minor tweaks, changing lead for the second run-through, and putting in an assortment of mainly middle-east inspired instrumentation for the accompaniment. While this is pleasant-sounding, it fell in the same pitfall as a previous submission of yours - the melody interpretation is identical on both sides, and the backing's static nature didn't contribute much to it either. The suggestions that I had there to interpret your melody further apply here, too. See if you can find ways to change things up. The mixdown is also a mixed bag. As prophetik pointed out, there's more attention up the front with the choir and pads - and the former is understandable as it provides the lead for the first half. Said choir also held notes at the same sustained level and then suddenly dropped out, so I'd appreciate you using envelopes to express them more realistically. Your instrumentation was also mainly hitting notes in the low to low-mid range, leaving very little going on in the mid to mid-highs, so it would've been nicer to have heard some of those layers transposed up an octave to get that area covered. And of course, there's the issue of headroom - a recurring issue that I'm sure you know how to handle by now. (But do feel free to talk with me on Facebook if you don't.) It's a nice and peaceful track, but the combination of an underdeveloped/static arrangement, a choir in the uncanny valley, and the quiet mixdown all add up to sending it back to the drawing board, unfortunately. Rebecca, I know you're capable of getting some pretty new age onto OCR - and I do hope you keep going with that idea. NO (resubmit)

Greetings, OCR Team. I'm Vladimir Kuznetsov, producer behind World Beyond - an instrumental soundtrack music project, also representing my collaborator Marica Vilibic, a talented violinist and singer from Croatia, with whom we do film and videogame music covers. We would like to suggest this new instrumental medley for review. Contact Information • Remixer name: World Beyond • Real name: Vladimir Kuznetsov • Your website: www.worldbeyond.net • Userid: 31732 Submission Information • Name of game(s) arranged: The Elder Scrolls III: Morrowind, The Elder Scrolls IV: Oblivion, The Elder Scrolls V: Skyrim • Name of arrangement: The Elder Scrolls Violin Medley: Nerevar Rising (From "Morrowind") / Reign of the Septims (From “Oblivion”) / The Road Most Travelled (From "Morrowind") / Dragonborn (From “Skyrim”) • Name of individual song(s) arranged: Nerevar Rising, Reign of the Septims, The Road Most Travelled, Dragonborn • Original soundtrack music composed by Jeremy Soule. • The idea to create this cover came from Marica, as she was willing to record the violin on top of an orchestral instrumental track. I liked this idea very much but instead of covering just one song from the TES soundtrack I tried to write a medley that would seamlessly transition between the most notable themes of the series. When the draft was done she played her part in one take as best as she could and I fine-tuned the track around it. At the final stage of production I tried to make the original audio sound more cinematic, using significantly less compression, much more reverberation and a mellow, warmer EQ profile. Violin: • Violinist name: Marica Vilibic • Email address: mvilibic@gmail.com