Rexy

The arrangement is essentially one run-through of the theme with some modifications. The bass line from 0:41 has more prominence with the octave licks, with the changed chord structures adding a subtle variation to the verse. Things got developed further at 1:31 with solos blistering through on top of that same verse-and-chorus accompaniment, culminating in some beefy harmony work at 2:04. I admit the bridge at 2:19 felt funky to me when I first heard it at the DoD duel this was a part of - wasn't too sure if having a bass doing similar riffs to the guitars would work sonically. But both the cameo reference to the intro and the resulting build back to the final chorus more than solidified its placement here. And yes, the all-out war at 3:34 made for some crazy subtractive work for the outro as well. For something that has more of a conservative approach, it did a lot of interpretive work with the source, and I felt that was worth it on its own. The soundscape is also serviceable - I can identify all parts for most of the time, the mixdown is also clean, and the tones for the guitars and synths all co-operate well together. Two things caught my attention, though: first of all, the open hi-hats have this fuzzy, loss-like tone to it and could've benefitted from a sibilance cut to tame it. And secondly, when all the leads do their spontaneous solos at 3:34, the soundscape feels very cluttered. The keyboard part going through the main melody was clear enough to keep the section going forward, though the ability to hear the other leads would've been handy to have. Despite my production crits, I honestly feel the treatment of the source did enough to work with the better parts of the presentation in creating a tight package through and through. I'm all revved up and excited to see it on the front page - excellent work, team! YES

ReMixer name - Mak Eightman real name- Max V. Kravchenko email address- userid: 32137 Submission Information: Title - "Front move" Name of game arranged - TMNT Tournament fighters System: NES Name of individual song arranged - BGM3, Waterfront Link to the original soundtrack - Hello! Second in a row of "different" tracks. If I recall correctly this mix has 32 tracks of instruments(only 3 tarcks for drums and percussion) and lot of effects chains. Actually it's a monster. Made it two years ago. Cool percussion. Gtrs kinda sharp and abrasive. Sometimes cymbals overloaded. Overall sounds messy and annoying. NO. Resub. Thank you! SFME!

Contact Information Your ReMixer name: Crashbomb Your real name: Crashbomb the band Your website: www.crashbomb.bandcamp.com Your userid (number, not name) on our forums, found by viewing your forum profile: ? Submission Information Name of game(s) arranged: Ducktales Name of arrangement: The Moon Name of individual song(s) arranged: DuckTales [The Moon] by Crashbomb Additional information about game including composer, system, etc. (if it has not yet been added to the site): Originally written by Hiroshige Tonomura, (1989) Song from "The Moon" stage from Ducktales (1989) NES game. Developed and published by Capcom. Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: We [Crashbomb] make fun, catchy, and melodic metal-induced punk with bone-crushing guitars and a Nintendo gizmo (named C.A.R.L) that gives our music a video game aesthetic. We recently started an album dedicated to some of our favorite video game covers. Ducktales being one of them!

ReMixer name: Eladar Real name: Darren Malley Email address: Website: https://soundcloud.com/user-275706525 User ID: 33527 Game arranged: Sonic & Knuckles Name of arrangement: Volcanic Glass Individual songs arranged: Lava Reef Zone: Act 1, Lava Reef Zone: Act 2 Links to sources: "Volcanic Glass" is a synth-heavy arrangement of Acts 1 and 2 from Sonic & Knuckles' Lava Reef Zone. I always loved the inherent juxtaposition of Lava Reef, environment-wise: the fiery magma of Act 1 vs. the cool, almost ice-like crystal structures of Act 2. Likewise Act 2's background music is such a great reinvention of Act 1's, and together they fit their respective level designs perfectly. So the goal with this remix was to try and blend the smooth intrigue of Act 2's theme with some of the intensity of Act 1's. Genre-wise it's a mix of things - early on there's some downtempo/chillout vibes, but later it gets more energetic. I suppose there's some synthwave influence too (plenty of analog-style leads and pads). Hope you enjoy!

Arrangement-wise, there are some subtle changes from the source here. The rolling bassline that was part of the A section got omitted entirely in favor of allowing more space for the lead pad and percussion. The B section at 0:55 and C at 1:38 have an emphasis on chords where the original equivalents did not, and in B's case, there's also a minor change in the melody line to accommodate this decision. So that initial treatment from the first couple of minutes is subtle and appropriate for the genre shift. However, the rest of the track doesn't develop any further. There's a brief return to the A section's second half, a repeat of B with the four-on-the-floor drums happening all the way through rather than halfway, and the previous treatment of the C section twice. The whole stretch from 2:00-3:52 is a revisit of prior ideas, and there's a lot of room to play around more with the theme. You've made a good start so far with those brief melody and accompaniment tweaks, so see if you can do something with this section to get it to stand out from the first half. The production also has its rough spots. I like the use of verb and echo to give the soundscape some space, and the choice of instruments work well for the intended "upgrade" direction. However, as Liontamer pointed out, the balance needs work - especially when considering the melody is too far back during busier parts. I also noticed the recording itself is extremely quiet - peaks at -0.4, but the audio hardly ever goes beyond -3dB even at its busiest. See if you can experiment with a master chain or some compression to bring up the sound levels more too. It's a good start, but the balance and underdeveloped second half are the main concerns for why I can't pass it in its current state. It'll be nice to hear a second revision that refines both of those areas of improvement, and I hope you'll be able to keep developing your craft nevertheless. NO

Orchestration is never easy to pull off, but your technique of writing for a piano first and adding other instrumentation over the top has enlightened me. The result is a lush palette with careful attention to space and articulation, particularly with the vocal and wind instrumentation. The mixdown is also clean and well-balanced, with a smidgin too much bass for my liking - but nothing I consider deal-breaking. I do, however, agree with the boys that the track is currently too quiet - though just a volume boost is okay in my book. The arrangement's lovely too. While you presented it in a medley-like format, there's a lot of attention to the choice of accompaniment writing to add more of that cinematic flair that the originals didn't have. I liked the breaks at 0:18 and 2:27, both adding melodic content that sounds at home with the source and breaking any monotony at that point. It's a simple treatment that doesn't outstay its welcome and a sign that shows how far you've grown from submitting to the panel already - good stuff. This arrangement is almost ready for the front page - just bring up the volume levels, and that spot is yours! [EDIT 2020/05/04 - I got an updated WAV with the volume being fixed. It's good to go now - so glad it got fixed!] YES

The arrangement is fun, relentless, and captures the spirit of the source. Though, the track consists of two straight loops, a third with a new melody and SFX over the top, and only at 3:21 does the accompaniment decide to break from its established mold. That change is something that I would've liked to have heard more of earlier in the track, to break that repetition. In fact, for that second loop, it's either worth experimenting and playing around with the source, or just not keeping at all. It's your decision on what to do from here. While the mixdown is clean, the textures (namely your percussion and guitars) have a thin sound to them. Consider either re-looking into the instruments' EQ to add more punch or a safer recommendation of adding more layers to those timbres. I also second MW's concerns about the balance being off and will add two key aspects that caught my attention. Firstly, the hi-hats drowned out the snare, so do take a look into that. And secondly, I also wanted to hear that new melody at 2:44, but the sound effects are completely drowning it. If you do want to do SFX at all, it's better to put them at a place where the melody isn't so much of a focus. You got a good foundation here, and without a doubt, you'll make the passionate Jazz Jackrabbit fan very happy with this interpretation. However, I consider this too rough to see on the front page at this moment in time. It'll be nice to hear a revision with fixes to repetition, source manipulation, balance and sound textures. You do have potential, though, so I hope you'll send stuff over again in the future. NO (resubmit)

Remixer Name: Marc Chemali Real Name: Marc Chemali website: https://marcchemali.bandcamp.com/releases userid: marcchemali Name of game arranged: Deus Ex (2000) Name of arrangement: Reamplified Streets Name of original: NYC Streets Original soundtrack link: Comments on mix: My inspiration for this remix/reboot was to see if I could give it a more modern sound. I wanted to keep the original ambiance and then maybe try add a different perspective on each section like it may be a different area of the level. But overall I still wanted to make it sound like a song the way the original did. Hope you like it.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Breath of the Wild Song Title: Forest Labyrinth Songs Remixed: Lost Woods

ReMixer name: Michael Hudak Real name: Same! Name of game arranged: Conker's Bad Fur Day Name of song arranged: Rock Solid (mostly the 2nd half of the song), by Robin Beanland Name of my ReMix: Xerrox Salad/Memories of Memories Original source song (I didn't use anything before 2:38): (The source usage in my song starts at 0:56 and goes throughout, minus a few interruptions. Much more than 50% usage, though, I'd say) Hello! It's me again. This is a weird one, and if it gets posted, some people are going to just hate what I did with the source. Ah well. I'm very proud of this, but explanation is needed. I've been obsessed with the work of Alva Noto (Carsten Nicolai) for years now, and this is another piece that was heavily influenced by both his "Transspray" series, such as this, and his piano cut-and-pasting work with Ryuichi Sakamoto, such as this and this. In fact, he has an incredible series of several album called "Xerrox", which has a lot of office machine sounds as part of the pieces, which I obviously drew from heavily, here. I don't want to give you a huge rundown of his discography, but to let you know where I was coming from with my own "Xerrox Salad" (an homage to Noto and a pun on Robin Beanland's "Rock Solid"...hopefully that extra r will keep the hounds at bay), it's a combination of the machine sound stuff, the piano stuff, and the source tune. "Rock Solid" is essentially a 90s club song with a simple repeating chord progression, so I added some heavy sidechained bass...but it's mostly sub, not in the right key, and eventually disappears. It's just as much noise as anything. There are tons of cut-up piano snips here, and much of them have the gain cranked and compressed, which is another EDM trope, but that kind of signal boosting also brings out the strange background noises in some of the sampled piano notes (often it's little noises from the sampling room). Piano is a percussive instrument, and bringing that kind of hidden clamor to the surface and then using snips and stabs of it really creates almost a new kind of instrument that amplifies both the percussive and melodic qualities of it. Not rolling back transients so you get that tasty "pop" when a new clip starts is a big part of that, too. This is also a kind of an "art-damaged" way of composing, but the source is a dance track, so I also tried to keep the pretense down and keep the song interesting and somewhat with a beat. That said, I did add words by Longfellow recited by my great-grandfather in front of his fireplace (from a tape from 1979 - I never met the guy but he has a great voice) taken from the song "The Legend of the Crossbill". The final section has that sprinkling of nostalgic fairy dust, I think. Whew! I think this track is ugly and beautiful at once. I'm sorry for such a long write-up.

Hello, Here is another submission from us once again! Contact Information Your ReMixer name - Elrinth & PsyNES Your real name - Nicklas & Jari Your email address - & Your website - https://soundcloud.com/psynes & https://soundcloud.com/Elrinth Your userid - 20309 Submission Information Name of game(s) arranged - Mega Man 2 NES Name of arrangement - Bubbleologists Name of individual song(s) arranged - Bubble Man Your own comments about the mix, for example the inspiration behind it, how it was made, etc. It's been about 6 years since we made this (with Renoise ofc!), and never tried to submit it in OCReMix, so here we go! I hope you guys enjoy this who hasn't heard it before! (If it gets released I guess :P) This time we have Bubble Man ReMix for you! I think its more trance'ish than the other two tracks we did and more like our Flash Man than the Metal Man ReMix in style. We tried to put some water themed samples to it, like beach sounds, some bubbling and also the drowning for ending. I actually fixed the ending too like Rozovian suggested in WIP Forums a few years ago, hopefully it's better now. Cheers! Enjoy!

Contact Information ReMixer name: Danilo Ciaffi real name: Danilo Ciaffi email address: website: youtube.com/c/DaniloCiaffi userid: 34668 Submission Information Name of game(s) arranged: Pokémon Red/Blue/Yellow Name of arrangement: Farewell Beloved Ones Name of individual song(s) arranged: Lavender Town Comments: I liked the idea of turning this creepy track into a mourning/death-is-part-of-life track, and went for a post-rock vibe

I liked how you transformed the limited content behind the original track. Particularly throughout the first three minutes, I heard a lot of additional notation, harmonies, gated synth work, and sneaky references of that theme in more original writing passages. All this is while changing the time signature to 4/4 from the original's 3/4 - extremely impressive for its 5-minute running time. It took me a while to get used to any funky dissonance that popped up especially when going through the source's A-section, but I can argue here that this is the Black Waltz we're talking about - so it makes sense to add that sense of threat into the writing in the grand scheme of things. Yet, despite all this transformative work, the track bubbled under the 50% source mark by 7 seconds after I made my calculations. A lot of it can be due to considerably less content in the second half. Despite missing the target, the various transformations are significant enough to consider a strong representation of the source, so I feel the arrangement overall is barely over the bar. I agree with the synth palette as well - a captivating variety of textured sounds, all appropriate to the synthwave genre. The mixdown is also very clean, and the parts are well-balanced. Regarding the arpeggio at 3:28, I agree that it can get brought down just a *touch*, but the main melody didn't get drowned out and fought its corner, so it's not a dealbreaker in this case. Nevertheless, I approved of the manipulations and stylistic direction - and along with some polished writing and production work, I can see it on the front page. Fun stuff, Drew! YES

You've shaken up the bass, melody *and* percussion notation like I've asked in the original DR - and that's a huge step up! In comparison to then, the writing has pretty much gone from "proof of concept" to "stable tech demo," so be proud of what you did there. But the "only four instruments" setup is still a problem, and I didn't sense any additional layers/instrumentation other than the new voice clips. Room for pads and other rhythm/hand percussion parts could work, so like I said last time, keep listening to your inspirations and see what kind of additional parts would suit this setup. Production-wise, some things alarmed me. Firstly, the headroom problem is worse than the original DR - when that barely went above -9dB, the resub has hardly gone above -12. If you haven't got a master chain at this point, consider building one - something like this can help with both the volume problem and getting more depth out of your sounds. As it is, though, I've sensed more care into the EQ balance, and it's good to hear the non-bass sounds have some power. The soundscape, however, has ended up with some mud - so by making cuts on whatever instruments you feel, you can let others in the same frequency range stand out more. It's a good improvement from the original submission, and I'm glad you decided to work on it some more. It's still not quite there yet, and it'll be nice to hear another pass with new textures, a cleaner mixdown, and a significant volume boost. Keep going! NO (resubmit)

The arrangement's great for what it set out to do. Not a lot of trance tracks we receive are source dominant, but this one barely hit the 50% quota on melodies alone, so you should be happy you nailed that aspect. Of course, for the style, treatment of the motif is generally straight-forward. Though, I do like the treatment of the 3/4 section at the end and its adaptation to 4/4 from 3:03 onward. The builds are also on point, so consider it a job well done in terms of the writing. However, I'm going to have to agree with MindWanderer regarding the mixdown. I don't mind the side-chaining going on, as it's okay enough for the genre, but the leads don't have the expected power behind them. Consider a re-eq on your mid-range sounds like your arpeggios and pads, and see if that can bring some breathing room for your melodies. A volume boost on said leads would also be good - I'd like to be able to hear those harmonies with much less effort. Honestly, the arrangement checks out, so don't touch it. The production, however, isn't quite there yet, and it will be desirable to hear a version that brings the leads further to the front and addresses the clutter in the mid-range. Please get back to this one! NO (resubmit)

I'd love this track to be warning audio for my PC as well, lol. After listening to a couple of examples of the Sakamoto-Nicolai partnership, I understood what you were going for in regards to the arrangement's direction. It's a very unusual approach - aside from chords that last for two measures, the only thing that resembles a melody is the progression of chords in the first half of block 4, and I sensed variations aplenty within the constraints of the art form, as prophetik brought up. Given how minimal the source is, I would've liked to have heard some reference to the rhythmic drone throughout for further familiarity, but that's more like something that's "nice to have". The mixdown is also very clean as well - which makes sense as the palette only consists of piano and some glitch effects. None of those SFX were louder than the main lead, which was luckily needed in a track like this as it needed to show itself off with those manipulations - varied panning techniques, wave-forms getting spliced, pitch-shifting aplenty and some brief EQ changes. I can see where MW is coming from with the pink noise at 1:45, but technically it's just simmering next to the piano and not out to dominate the soundscape. These are unorthodox techniques, but they function together in context, and I'm okay to consider this over the bar. All in all, you did good with a minimal source and have continued to push for more musique concrete onto the front page. Due to inspirations, it's a more accessible form of this sub-genre, with enough source and sound manipulations to keep the listener engaged. Excellent work, Michael! YES

Hello there! This is my first submission, so I deeply apologize for any mistake I could make. I hope you enjoy this track as much as I enjoyed making it. Thank you! Contact Information ReMixer name: Eidenlux Real name: Lucian Lazzaro Website: https://www.facebook.com/EidenluxMusic UserID: 36170 Submission Information Name of game arranged: X-Men vs Street Fighter Name of arrangement: Royal Flush ~ BGP Groove Name of individual song arranged: Gambit's Theme Additional info: Composers: Yuki Iwai, Yuko Takehara; Platform: Arcade, Playstation, Sega Saturn; Developer: Capcom; Release date: 1996 (Arcade). Original soundtrack: https://www.youtube.com/watch?v=trtF-jR7hPg Comments: This track was originally composed for a side project of mine, "Brutal God Project", which covers music from fighting videogames, along with some original tunes. Music-wise, it aims to be a strong blend of Synthwave, Cyber Metal and Symphonic Metal, among other electronic-driven genres - mixing the nostalgic, psychedelic leads and ambience from Synthwave, the powerful riffs and sophisticated arps and sequencers from Cyber Metal and the epic and marvellous presence of Symphonic Metal. Some non-VG inspirations for this project are Neurotech, Sybreed, Deathstars, Droid Bishop, Gunship, among many others. Production-wise, I tried to retain the classic spirit of the original instruments for the lead synths, while at the same time making use of modern high-quality techniques for mixing and synthesis; along with a very layered mixing style. Most of the instruments used are my own, the leads in particular, which I try to make constant use of, as a "signature" method. An interesting fact is that a reduced version of this tune was played live at the 5th edition of the Argentina Game Show, held in Buenos Aires - in the first BGP live show ever.

Name: Hypetreme Website: www.youtube.com/Hypetreme UserID: 32731 Game name: Mega Man X Arrangement name: Chilling In The Snow Original song name: Chill Penguin Stage Theme I wanted to make jazz cover of the song but it didn’t turn out like that exactly. It is little bit jazzy and has some 80s -90s pop rock vibes too. It is certainly something relaxing you can fall asleep to. I tried to make it very natural sounding and avoided using too much compression. The song has this chaotic jazz walking bass part and relaxing creamy ”chorus” part. I never did an arrangement like this before and I’m happy how it turned out. Guitar and synth are played by me, everything else is programmed.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Final Fantasy 10 Song Title: Macalania Shaman Songs Remixed: Macalania Woods

The submission letter didn't make it clear, but Luis's contribution was with editing and mixing. -Rexy- ReMixer name: TheChargingRhino Real Name: Lauren Stanisz No website User id: 33732 Name of Game(s) arranged: Mega Man X2 Name of Arrangement: Trial of the X-Hunters Name of individual song(s) arranged: X-Hunter Stage 1 (aka Sigma's Fortress 1+2) Own Comments: This remix is from the recent release of Pixel Mixer's MMX tribute collection album, "Mavericks of Destruction". I used Super Audio Cart for the entire mix, and two members of PM helped me, they are both on the Quality Control Team: Dewey Newt and Luis Vasquez. The presets that are used are (not in order of appearance as they are all over the place) Narrow Escape, Clubbing in the Cave, Rage in the Cage, Robotix Groove, Turbo Guitar, East vs. West, and Exploring the Demon Maze Source Times: (via actual file time, not Drive) 0:00-0:48 - source (intro + A) (48 seconds) 0:49-1:02 - original (14 seconds) 1:03-1:17 - original solo by Dewey - kinda source at the end (14 seconds) 1:18-1:24 - source (B) (6 seconds) 1:25-1:38- source bass/rhythm mix (14 seconds) 1:39-1:52 - original (14 seconds) 1:53-2:31 - source (A + B) (38 seconds) if my math is correct, the source time should be around 1:32. Original sections are 0:56 seconds over the course of the track

I rejected it last time based on its mixdown. Since the arrangement has stayed as it is, it makes sense for me to quote what I said about that. The mixdown is also a vast improvement. The airy white noise has gone, any distortion left lingering is a subtle use of effects, and the palette is much more defined - I can tell what each synth is doing now. If there's one irk I have, it's that I would've liked a volume boost for your leads in the final third - but considering the very nature of the track, I don't consider it as a dealbreaker. Nevertheless, I think it's good to go for the front page - so glad you decided to go over your feedback and workshop it some more. I'm excited to see what you'll bring in future subs! YES

Agreeing on the headroom - it's quiet even in comparison to past work, Reuben. The live instrumentation all sound clean, but it's hard to make out the melodies when the accordion is too far out into the front. Even with that gone, both flute melodies at 1:55 are so similar they bleed into each other. To remedy this, I feel one part is better off being either performed at a lower/higher octave or on a different wind instrument altogether. The cymbals also overpower the kick and snare, so by bringing them down a touch, you'd get more out of the rest of the drum kit. The arrangement is straight-forward though - some changes to the melody with one or two additional notes, along with those lovely flute harmonies at 2:24. Nothing mindblowing outside of Greg's solo spot at 1:26, but the subtle modifications are enough to consider this a decent framework. It does, however, have some problems regarding autopilot. The bass does the same style of rhythms throughout, and I would've liked to have seen some form of a shake-up after the drums' introduction. And talking of the drums, they go through the same four-bar pattern until the end. See if you can find areas of the track where you can change up the groove and break that monotony. Indeed, a lot of smaller problems have added up for this to get sent back to the drawing board. The bass/drum autopilot issues, mixdown, flute melody clashing and master levels have all contributed some significant areas of improvement. The framework and performances are delicate, so I say keep the structure as it is while you take a look at these current flaws. Keep at it. NO (resubmit)

I dug the arrangement aspect a lot when I paneled the original submission, and I like it even more now with those bass writing tweaks. The source made its introduction at 0:49 and started straight-forward, then branched into some interesting parts at 2:21 and 3:17 where the backing remained in place, and new melodies appeared over the top. The structure is solid as well - an ominous opening with pads and pitched percussion, the meat of the groove at 1:42 and 3:18, plus the chance to squeeze in some involving bass LFO work in the breakdown at 2:21. It's a robust framework and a great example of how to handle something relatively brief. Letting go of the heavy limiter also helped a lot with the mastering, giving the calmer sections some room to breathe with the newly expanded amount of headroom. All parts sound clean, are well articulated in the bigger picture, and the amount of distortion and reverb throughout is considered more tasteful than the original submission. I'm not too sure where prophetik is coming from with the lack of bass, because the sub-bass here is intense and appropriate for a track of this type of EDM. If anything, I would've wanted a slight boost in the high-mids on a master compressor to get the arpeggios and melodies some more presence, but it's no dealbreaker at all in this case. Nevertheless, it's a vast improvement, and I'm so glad you decided to get it fixed. I'm all in favor of seeing more Vermilion rep on the front page after hearing this revision - great work! YES

Dear OC Remix, Please see details below regarding my submission: Dr Robotnik’s Revenge, links to composition are at the bottom. Contact Information Your ReMixer name: Pyrus Your real name: Andy Bryer Your website: https://www.youtube.com/user/pyrusFTSC/videos?view_as=subscriber https://soundcloud.com/apexpredator Your userid: 35471 Submission Information Name of game(s) arranged: Sonic the Hedgehog 1 (Sega Genesis) Sonic the Hedgehog 3 (Sega Genesis) Name of arrangement: Dr Robotnik’s Revenge Name of individual song(s) arranged: Sonic the Hedgehog 1 – Boss Theme Sonic the Hedgehog 3 – Boss Theme Additional information about game including composer, system, etc: Sonic the Hedgehog 1 – Sega Genesis – original composer - Masato Nakamura Sonic the Hedgehog 3 – Sega Genesis – original composer - Brad Buxer Link to the original soundtrack: Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I love the ominous feeling of the Sonic 1 boss theme – it’s so menacing and badass – which really lends itself to slow, lumbering, downtuned heavy metal. It really is Robotnik’s theme in my opinion. By contrast, the Sonic 3 theme is great in a different way – it’s high energy, fast, and has a really heroic feel to it – this theme belongs to Sonic and it spells Sonic’s triumph more so than Robotnik’s fury. I thought it would be cool to contrast them in the same composition and I think it works well. I titled the track “Dr Robotnik’s Revenge’ when I decided to repeat the Sonic 1 boss theme in the third and final part. Composed using Abelton Live 9 with Superior Drummer 2.0 (Metal Foundry) and various other free VSTs. The project took about a week to compose, mix, and master. I play guitars and synthesize all other instruments. I hope you enjoy. Thank you for considering my submission. Kind regards, Andy Bryer (Pyrus)

Artist: Sole Paradigm Real Name: Devin Paquette Name on Forums: SoleParadigm Song: Thrashin' the Temple From the game: Zelda II: The Adventure of Link Remix of: Temple theme Original Composer: Akito Nakatsuka Probably one of the coolest songs from any soundtrack has to be the Temple theme from Zelda II. Even as a kid I rocked out to it. The track always sounded metal to me. I know some would disagree. But I could hear it clear as day in my head. In 2007 or so I took a crack at it. The first time I made an attempt it wasn't fast enough. I had matched the original tempo and was just not happy with that. So I sped that up. And also, I was playing through a Spider IV combo amp mic'd with an SM57 and the guitars just sounded way too thin. Starting from there, over the years I've taken several cracks at it using different mixing and miking techniques. But it wasn't until a few years ago I realized that for this to be as epic as I wanted it to be I needed to think bigger than just metal. My thoughts turned to Dream Theater's Octavarium album and Metallica's S&M. So I saved up for a copy of EWQLSO Platinum and Symphonic Choirs which took a couple years. Once I learned how to use those I went to work. For the final version, I used an Axe FX II amp modeler for guitar and bass plus Superior Drummer 2.0 with the Progressive Foundry kit. The thing about this track is that it's loud, fast and heavy with just those instruments. When adding the orchestra and choir parts I had to be careful that they didn't get lost in the mix. So when using the mod wheel for dynamics I didn't go too low so as to not lose those instruments. Some EQing helped as well. This track will punch you right in the face from beat one and will give you a pummeling with little room to breathe. It's heavy as all hell but it also has heart and soul. It'll make you wanna pick up a sword and shield to fight whatever battle you're fighting in life. I hope you all love it as much as I do. If not, well... at least it gets my head banging on my way to work.