Rexy

Hi, this is my first submission in ages. Below you will find all the info about me and the remix. Sincerely, Tobias Nylin ----------------------------------------------- Contact Information ReMixer name: Tab Newflax Real name: Tobias Nylin Email address: Website: https://www.tobiasnylin.com/ Userid: 2108 Submission Information Name of game(s) arranged: Mega Man 2 Name of arrangement: Heat Up (Twelve Thousand Degrees) Name of individual song(s) arranged: Heat Man Comments about the mix: I started making music in the early 2000s, not long after that, I discovered OverClocked ReMix. I got really inspired and started making remixes of my own, I even tried to submit some of them. At some point, I stopped making music, but in recent years the inspiration has returned to me. Mega Man 2 is one of my favorite games of all time, and its soundtrack is also one of my absolute favorites. I think it’s interesting although Heat Man’s theme is very short, and not that varied, I never get tired of it. I got inspired to make a remix of it, with the goal to see how far I could stretch it without it being too repetitive, it resulted in a 6-minute long track. I've never made a song this long, it was a real challenge, and of course, took way longer than intended to finish. I hope you will enjoy it!

ReMixer name - Mak Eightman real name- Max V. Kravchenko email address- userid: 32137 Submission Information: Title - "Probe" Name of game arranged - Megaman X3, Megaman X5 System: No idea Name of individual song arranged - Tunnel Rhino/Cyber Maze Core Link to the original soundtrack - Hello! I made it for Megaman competition long time ago. I was representing «Zero tolerance» team. Great team, I failed them.. If I recall correctly. Two sources I never heard before, two games I never played. Can’t say anything «inspiring» about it. Ok. I had one or two weeks(don’t remember) to make this track, so I had nothing in my mind. I just took guitar and recorded, then added some synth stuff. Fun fact, that I really had nothing in my head, I just played. So the track sounds weird but fun. I don’t think it’ll pass the panel, but I still enjoy the overall soundscape I’ve created here. Gtrs sounds «soft» and heavy, drums are live. Well, this sounding is the best I made so far i guess. Pleas leave the link to Remix if it’s possible. Thanks! SFME!

Your ReMixer name: Mundiaxis Your website: www.mundiaxis.com Your userid (number, not name): 36965 Name of game(s) arranged: Sonic Mega Collection Name of arrangement: Sleepy Hedgehog Name of individual song(s) arranged: Sonic Mega Collection - Intro Theme Additional information about game including composer, system, etc. (if it has not yet been added to the site) Gamecube, PlayStation 2, Xbox, Microsoft Windows Composer: Hideaki Kobayashi Link to the original soundtrack (if it is not one of the sound archives already available on the site) Your own comments about the mix, for example the inspiration behind it, how it was made, etc. I made this song using a 5-string electric bass guitar and keyboard. I've always felt left out when I see incredible fan contributions (music, art, fan stories, etc.), and I never felt I was adequate enough to create something myself until recently. Lofi is a popular genre these days, and I love SEGA and my bass guitar -- so, here is a Sonic Lofi remix! I think this song has potential to be beneficial to your organization. I published this song on YouTube and it's been getting a lot of great positive reception with the audience it's been exposed to thus far. Hope you enjoy!

Yeah, I heard that the USPS got jammed up over the holidays. Unless you've marked it for tracking, I don't know of any other way you could check and see if it's moving along the system D:

I don't mind the pacing of the intro. It uses the arpeggio in Cossack 2's opening over a layer build, making it fair enough to engage itself steadily. When the intro's melody hits at 0:29, the sources' leads stay consistent throughout, making source usage a non-issue. It's mostly Cossack 2, with Cossack 1 making a straight appearance at 1:21 and making sparse cameo appearances in the final Cossack 2 A section run from 2:16 onwards. While I would've liked to have heard more experimentation with the melodies beyond your synth articulations, it at least served itself well to present both sources in such a format, so I don't see it as a big issue. I do, however, agree with Joel and Brad regarding the production. I did an RMS reading and saw its average at -11dB - so I understand you wanted to cater to club play more than streaming on YouTube. Even when looking through an equalizer, I saw so much push going on through the low-end, and that gets reflected further with parts across the mix where combinations of lead and rhythm parts share the same tonal space. I understand you're more used to symphonic arranging than with synths, but in a style that requires more energy, separating parts should ideally go beyond cutting frequencies to make room on other instruments. You can still try that if you'd like, as the lads above me had already emphasized, but I also feel some of your layers could benefit from being brought along to a different octave for further clarity. This submission is one of those arrangements where I feel it's just about passable from a writing perspective but still needs another mixdown pass to give your low-mid parts more room. I'm all for seeing you do something different, George, and I hope you get the chance to revise it. NO (resubmit)

I've been going back and forth on this one for some time. The main reason behind it is indeed the major elephant in the room - the sound design. The higher-end orchestration sounds as lush and lovely as I expect from you, with each of them having their delicate balance and stereo space in the mix. However, you said that many of your woodwinds are from old Roland VSTs that call back to the PS1 era. I can't fault the tone and decision for utilizing them at all. But there could've been a less uncanny use for them other than using them as leads for most of the track, especially considering their lack of articulations and expression. I would've preferred them to get designated to a cameo role and let more of your high-end parts take the more significant roles, but if you feel you can get more out of them by adding more layers or varying the volume/velocities, then see how that pans out. The arrangement is a cute concept - with the melodies staying as they are but more work in the background to orchestrate and bring out the different variations. I offer credit where credit is due for the part at 1:24 where you went to the second half of the A section for a bridge before going back to the section repeat at 1:48. Yet, it's a straight run-through that doesn't deviate from the chord structure or rhythms. Brad already brought up the funky dissonance, so it doesn't need to get echoed here. And with the A sections only deviating in lead instrument changes, muting the glockenspiel, and swapping the choir pad for a brass ensemble, there isn't enough personalization done to go over the bar either. It's a cute concept at surface level, but it's also got a fair number of edges to smooth out. If you still have the project file, it'll be nice to hear further development on the arrangement, revised humanization on your leads, fixes on the dissonance, and (potentially) a more suitable way to use those old Roland patches. You reminded me of how beautiful the source was, and it'll be lovely if it can get some more rep here sometime soon. NO (resubmit)

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Oracle of Seasons Song Title: Temple Spirits Songs Remixed: Temple of Seasons

(5/11/2022 version) (Old Version for Reference) Remixer Name: Ryan Davis Music Game: Aquaria Source-Undiscovered Waters Website: http://ryandavismusic.net Hey all. If you remember me you might know me as the guy who would do some Aquaria inspired remixes a few times a year during the old competitions on the forums. Usually this time of year I do my annual playthrough of my favorite indie game but due to the passing of Alec Holowka last year, one of my favorite indie developers who also did the OST for the game, I haven’t been able to bring myself to play it. Instead, I felt compelled to do this new age cinematic rearrangement of Undiscovered Waters which is one of the more prominent tracks of the game. Never knew the guy personally but I connected strongly with the game and it's music when I crossed paths with it a decade or so ago. RIP Alec. -rdm

While this is Eric's fourth attempt at a track with this title, this is his third with this particular source. Any feedback given from when he tackled the other overworld theme shouldn't get recalled during this decision. -Rexy Original decision 2nd decision Audiomancer-Remixer name Dragon Warrior 2-game arranged First walkabout theme-music arranged Koichi Sugiyama-writer of original theme Link to original This is my latest offering to the panel, and I believe this is very much improved. Produced with fl studio 20, and I hope this is at least a further step in the right direction if not accepted. Thanks for your time and consideration!:)

Contact Information Your ReMixer name: Techie Jessie Your real name: Sara Garrard Your email address: Your website: https://www.youtube.com/channel/UCm8j3_XoEG_S6IaRLHfw_ag Submission Information Name of game(s) arranged: Final Fantasy VII Remake Name of arrangement: A Broken Waltz Name of individual song(s) arranged: Return To The Planet, A Broken World (Mainly those, which contain overlapping material—there are little phrases from Jessie's Theme, and from the original FFVII soundtrack: Main Theme/Holding Thoughts In My Heart/Opening Bombing Mission, but not enough to be listed as remix of those tracks.) Additional information about game including composer, system, etc. (if it has not yet been added to the site) Masashi Hamauzu Link to the original soundtrack (if it is not one of the sound archives already available on the site): https://www.youtube.com/watch?v=Oj64Ekm0_8I https://www.youtube.com/watch?v=RGhb8h_Ge0c Your own comments about the mix, for example the inspiration behind it, how it was made, etc: This is a reimagining of the "A Broken World" theme from FFVII Remake, a part of the new-composed score that I really liked for how filmic and sad and properly melodic it was. This is still in a broadly soundtrack style and shape, but taking the sad strings theme and changing it into a melancholy, bittersweet, slightly French(?) waltz tune (from 0:53). Surrounded by some material from the opening of Return to the Planet, a couple quotes from Jessie's Theme plus little touches of other FFVII themes at the start. Some orchestration ideas owe a little to Joe Hisaishi's Ghibli scores, particularly Howl's Moving Castle, the lightness and the 7ths and also on the other hand the church organ at the start! It's still definitely sad. But maybe not entirely bleak. In honour of Biggs, Wedge and Jessie, who were my faves from the start. Return to the Planet: A Broken World: Jessie's Theme: The Look on Her Face: Main Theme of FINAL FANTASY VII: Holding My Thoughts in My Heart: Opening - Bombing Mission:

A mix of this scope sounds intimidating on paper, and yet it's a simple one. Outside of the bookends, the track goes right through the A section of Hunter's Chance as mentioned, then at 1:21, it goes through The Landing starting from the C section and looping to A. Following a crazy 11/4 riff section at 2:44, the source quota then goes back to Hunter's Chance's main melody before the ending. So while it structurally doesn't re-invent the wheel, what you did with the flourishes on the lead guitar and folk instrumentation added more to the writing density and expression thereof. I also thought the left-panned accordion at 1:21 did a genius idea of carrying the piano riffs from Hunter's Chance through to the Landing. And of course, I didn't forget the guitar solo on top of the D section at 1:44 or that part at 2:06 where you brought half of Landing's F section into 5/4 from the original's 6/4. The substance checks out, and there's more than enough musicianship to spread around on top! The mixdown is mostly a clean one with some strong presentation of your instruments via panning and EQ. But I'm also in the same mind as Brad in which the high-pitched instrumentation like the hi-hats and cymbals are far back in the mix. Thankfully, the kick and snare cut through well, so I can see that as a non-issue. The guitar performances are also mostly tightened with the folk instrument getting various humanization techniques, including timings and the flourishes mentioned earlier. Though, the first 15 seconds with the accordion felt like it meandered too far offbeat and could've done with a re-take. I understand the argument for starting track anticipation, but it's also a small fragment of a larger scale, so it's nothing to mark a conditional vote over. Please watch out for such things in the future, though. It all adds up to a unique package that brought together two themes that stylistically work so well against each other, had well-executed quirky instruments on top of your usual guitar prowess, plus it also has an accessible and fulfilling interpretation. I'm in favor of seeing this get posted - excellent work, Ivan! YES

Link Remixer/real name: Michael Hudak Game arranged: Vectorman 2 (Composer: Jon Holland) Song Arranged: "Swamp (Scene 2 - Night in the Swamp)" My ReMix title: "The Wind That Turns the Page" Link to original (YouTube, unfortunately): Hi again, it's a-me. Vectorman 2 might have one of the Genesis' most overlooked OSTs; it has some bangers, but a lot of people don't know the game exists! "Swamp" from Scene 2 is probably my favorite track from either Vectorman, which are the two games that introduced me to electronica as a wee tadpole back in the mid-90s. So, thanks to Jon Holland and the devs for that. For this arrangement I wanted to do something heady and cerebral but without leaning fully in an IDM direction. So, there are panning and sound design techniques that a lot of my music features, but with more organic instruments (music box and cello from Spitfire), along with several field recordings I did in Japan. The title is a reference to how many abrupt changes my life has taken over the last few years (and I know I'm not alone!), and the somewhat abrupt transitions between song sections (and the ending, even) mirror that. Thanks to the judges for all their hard work. - Michael

Remixer Name: Marc Chemali Real Name: Marc Chemali Email: website: https://marcchemali.bandcamp.com/releases userid: marcchemali Name of game arranged: Duke Nukem 3D Name of arrangement: F. Reset Name of original: Stalker Original soundtrack link: Comments on mix: I always wanted to do a big Frank Klepacksi/Quake sounding style of this theme since I was younger. Just wanted to hear what it sounded with dirty sounding analogue synths and guitars. Cheers.

I felt unsure about the arrangement on my first listen, but I understood the evolution through repeated listens. The first run-through had an excellent tempo ascent in the first half, along with some sweet varied drumming that kept up the pace and varied between rhythm types. The second loop with the first guitar solo is no slouch either, and kept up the textural variation with the denser rhythm guitar rhythms and more frantic drums, eventually leading to blast beats at 1:53. The third loop also ran a risk of copy-pasta thanks to the return of the blast beats in the B section at 2:41, but it also had a guitar arpeggio to differentiate itself. That loop also contained a different guitar solo in A (2:14) and a brief return to the first loop's C section with subtle rhythm guitar modifications (2:55). Overall, I heard a simple "theme and variations" arrangement - nothing too cerebral, but there are enough variety and interpretation to maintain engagement. Regarding the mixdown, it surprisingly feels tight. The guitars got recorded cleanly and accurately, and I can identify your drums due to more evident balance. While I'm not sure which solo spots Daniel contributed to, all of them segue nicely with the defined chord structures nevertheless. Yes, the rhythm guitar providing the arpeggio part doesn't feel as defined as the leads and the chord-based rhythms, but I consider it a support instrument in the grand scheme of things, so I see no big deal. I also personally would've wanted a hint more presence on your drums' overhead as they still feel faint in the mix, but that end of the EQ spectrum is a temperamental one as it is, and it works fine with its current presentation. Either way, I hear a stable arrangement overall. It's more of a no-brainer in terms of interpretation, but with one of your more well defined technical presentations as of late, it didn't need to be overly flashy. I'm impressed with your prowess, Jean-Marc, so I hope you get to keep at it. C'est parti! YES

I agree regarding the arrangement - of all submissions I had heard from you, Jean-Marc, it's among one of your most developed yet. You started with the recurring synth pattern in the source's B section for the intro, went straight through one loop while cutting all segments in half, then handled full versions of the A and B sections while also bringing in a rhythm guitar and lead guitar harmonies for the latter. You then had guitar improvs from 2:14 onward while using the B section's melodic fragments on your orchestration to anchor source use, handling a full loop from 3:04 starting with the C section, then relying on a calmer guitar-only variant on A to finish things off. That last third made me concerned about auto-pilot - and indeed, there was with the C section at 3:04 and the same one at 4:05 sounding identical. But the A section variant at 3:19 stood out with the added guitar textures, and the B section at 3:35 swapped out the saxophone lead for a guitar. I can't penalize this track for 15 seconds of copy-paste, and particularly when you handled the other segments amazingly well. While I wasn't there for the previous decision either, I did compare the mixdown for this and the original submission side by side. I noticed some very considerable cleanup, especially when bringing out the drums and rhythm guitars with their own defined space. That said, some minor issues caught my attention. As noted, the samples for your orchestrated parts aren't great, but the articulations and velocities are varied, and the elements themselves are carefully layered. The brass ensemble, in particular, could've been cleaned up further to allow the saxophone lead to take up more space, but both parts feel defined individually otherwise. I also definitely agree with Deia regarding the lead guitar in the C sections (3:04, 4:05) starting slightly behind time and would've benefitted from a re-record. Still, as they quickly re-correct themselves, they feel like no big deal, and the recorded guitars outside of those sections remain tight. It's not what I call a perfect mix due to the instrument palette's challenging handling, but the arrangement and improved mixdown easily outweigh it. Whether you want to enhance your humanization further with the samples you have or with real performers in future works is all up to you, but for now, I'd consider this a strong showcase of your development as an arranger. Good luck with the rest of the vote! YES (borderline)

On the production side, I've seen a lot of improvements in your presentation and articulations. The percussion sounds as lush as always, and while the legato shaping on your woodwinds and strings aren't perfect, they do feel considerably less stiff, particularly with the note durations. The instruments themselves have been presented adequately enough, with some minor concern of bleeding between the bass drum and pizzicato strings generating the low-end pulse. Yet, I noticed that leading in and out of the theme, the wind SFX felt boomier than they needed to be and left behind this flossy microphone-brushing texture. That's something that a low-to-low-mid EQ cut can fit, though even then, it works so much better during the second half. Alas, with the arrangement side, it's not quite there for me at this point. The theme run-through itself, lasting from 0:20-2:22, is as carefully arranged within the loop's constraints as I usually expect from you, with countermelodies and added accompaniment aplenty. I like how in the B and C sections (1:00 and 1:53), you modified the start of some of the phrases slightly into a longer legato note rather than the original's sudden burst of staccato - something that captures a more graceful expression appropriate for the track title. Even the A sections (0:34, 1:27) are non-identical, with the second one emphasizing more on the note runs on your pitched percussion. So from this singular run-through alone, you've still demonstrated strong chops. However, everything outside of that 0:20-2:22 timeframe is entirely original, including the drawn-out ending. I'm all for preserving artistic integrity, but when it doesn't use any source at all, it's a tough sell and harms the VGM dominance aspect - bringing the entire track to less than 45% source use. I know you said you're up for cutting the ending in half, but it's possible to add in a couple of other instruments and get them to reference the Gerudo Town source's melody or a different BGM entirely. Even if it's a brief cameo (i.e., 15 seconds minimum), it'll be enough to meet the quota - but whether you decide to preserve the ending's length while doing so or making that cut above is all up to you. To sum it up, the presentation has some minor mixing flubs that could get addressed, but I'm more concerned about the lack of source use more than anything else, particularly in the second half. If you can find a way to boost the source quota, whether by trimming the ending or merely adding more BGM, I'll be more than happy to look at it again. NO (resubmit)

I agree with Joel regarding the warm sound on the acoustic guitar. Solo instruments are never easy to present yourself, but here, the tone and attacks paid off and allowed me to hear each string as they got used. The recording quality feels clean, and the performance feels raw and human, with only some minor hesitations in your execution. I would've wanted much smoother transitions in and out of the FF7 main theme at 2:58, particularly with your chord progression, but I understand that was from you following the tab along. As for the arrangement itself, it's got the theme usage with some playing around with the core melody before the prior FF7 main theme section, and that's all well and nice. But let me put aside the prospects of you using another person's arrangement, as it also turned out the structure's based on the FF7 Piano Collections version. The main differences are the main theme cameo replacing a good chunk of the middle development, subtle secondary melodies in the recapitulation, and a reworked ending. We've had some mixposts here that riffed off official arrangements in the past, but to me, that means more than half of the writing isn't only not your own, but also not Cecil's either. It feels like a dealbreaker knowing about this revelation, which is shameful as the performance is a delicate and charming one. Ultimately, the unoriginality of the arrangement sunk the entire thing to me, I'm afraid. Christian, you've got the charm as an acoustic guitar performer, and I'd like to see you make your way onto the front page at some point - but I do hope it'll be with something that is more your own. Please, keep at your prowess! NO

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): BotW Song Title: Queen of the Sandstorm Songs Remixed: Gerudo Town PS: I know the outro is pretty long and meandering (I wanted it that way) but I’m willing to cut it to about 3:45 if you guys feel that the outro is a dealbreaker.

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: Rebooted Name of original: UNATCO Original soundtrack link: Comments on mix: My intention was to make it as theme-centric as possible - give it a little bit more drama but still keeping it very natural and electronic. I gave it my particular human feel to play. I could see how putting different sections together would create a big section.

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF9 Song Title: Blue Blood and Red Roses Songs Remixed: Jesters of the Moon

Hello there, I'd like to submit the following track as my first serious contribution to the site: Contact information ReMixer name: Blooming Late Real Name: René Mulder Email: Website: https://soundcloud.com/bloominglatemusic OCR UserID: 34581 Submission information Game: Donkey Kong Country (SNES) Arrangement name: Prime Factor Songs arranged: "Fear Factory" Link to source / soundtrack: I'm pretty sure this song is already in the OCR database and well known among you guys Comments about arrangement Donkey Kong Country and its soundtrack came into my life when I was very young. My cousin was the first person I knew to own a Super Nintendo Entertainment system and it was this game that started my own desire for a games console. I remember getting absorbed into the colorful world of DKC and especially being captivated by Aquatic Ambience. Discovering the factory stage theme for the first time was equally awesome. We probably spent way too much time in that area, just to hear the song over and over again! After several decades, I still find myself inspired by the music from the series and so it is only natural that I would pick songs from this game to remix/cover. This particular idea for a take on "Fear Factory" came to me when I was playing around with the relatively recent release of FL Studio's FLEX synth. My simple bass-line sketch reminded me of the factory stage theme and so I decided to see if I could recreate the whole thing with new and interesting sounds provided by FLEX. After recreating the original melody I left the project alone for quite some time before returning to it and turning it into a more personalized remix. This is the final result. It would be an honor to have it get its place on the site that introduced me to remixing in the first place! Kind regards, --René Mulder a.k.a. Blooming Late

Screen name: wildcaml Name: Dakota Anderson Email: Game: Metroid Remix: "First Time Down Here?" Song: "Kraid's Lair" or "Kraid's Hideout" Since this is the first Metroid, I wanted to capture the feeling of entering Kraid's lair for the first time. As you descend into the dark, sprawling caverns, a droning, eerie tone begins. The energy picks up a bit as you explore, and increases further as you continue to discover and become more confident. In a moment, though, the alien life quiets, the halls become tighter and dimmer, your heart beats faster and faster until you find yourself in a pitch-black room, where Kraid himself suddenly explodes into action. The piece hits its climax as you try to fight off Kraid for survival. Finally, the track chills out a little; you're safe for the time being. However, as the music fades into a dissonant descent, you realize this isn't the end, and you wonder what otherworldly horrors further await you on the mysterious planet.

I've been going back and forth on this one as well. Arrangement-wise, it goes straight through the source with minimal alterations aside from the genre adaptation and re-orchestration. It's one of those examples where even though the melody stayed the same throughout, the variances behind your backing elements like your percussion, rhythm guitars and arpeggiators changed the feeling behind the individual sections altogether. I can get behind it based on its more subtractive direction. However, I do agree with my fellow judges regarding the over-the-top mastering. Firstly, let's go through the positives. The guitar performances are precise and articulate, your sound palette is rich with high-quality samples, and the expressions are also firm on the VST instruments as much as your live ones. But not only does the mastering skew so much in the guitar's favor and makes the symphonic orchestration challenging to hear, but the total RMS averages out at nearly -9dB - making it way louder than what it needs to be even for YouTube. Since the EQ shaping skews more in favor of the low mids, it would take some noticeable EQ cleanup to let your brass and strings cut through the mix. I like Joel's idea of stripping out parts that the guitar is drowning out, but I also feel transposing some troublesome parts would let them find some room elsewhere. You've done well with this one so far - don't touch the arrangement or your guitar recordings. But the hectic mixdown and mastering are currently hindering it for me, I'm afraid. I'm up for hearing another mixing pass that finds room for your orchestrated elements and (if possible) a master with a lower LUFS level. I see potential from you - so I hope you get the chance to keep going with your craft. NO (resubmit)

Alright, so I've stuck true to my word and made matchups for everyone on Thanksgiving eve. Everyone who filled in the form should have a forum or Discord PM detailing their match. Let's spread some Christmas cheer!

The arrangement is straightforward, as it goes through two run-throughs of the theme, with different guitar noodling between both versions. I appreciate the effort to let your performer do the primary amount of variation - but based on your backing effort alone, the second variation has next to nothing different from the first. If you intend to keep the chord structure as it is, then it's worth experimenting with different rhythms on your bass, percussion and support instrumentation to present it differently. An example of "theme and variations" done well is the music to Banjo-Kazooie, so if you hear how an established theme can sound so varied multiple times within the same track, it could give you some ideas on how to alter your rhythmic presentation. If you feel deviating from the established chords is a better idea, it's acceptable to keep the melody as it is but write an entirely fresh accompaniment over the top. See if you can experiment with means to lift the writing for your second half. I'm definitely with Joel regarding the intensity of the bass, too. I ran your track through a spectrum analyzer, and I saw the low-end frequencies pushed up over the gain line, and it is something I can sense to the point of it being not easy to hear any other non-percussion instrument. It's a shame because the guitar licks sounded articulate and precise, the use of high-passed reverb felt set to draw attention, and a good chunk of your library fits your choice of setting. The bass tone is fun and expressive for what it is, so an EQ tweak may not be necessary, but a volume drop is essential. The percussion itself isn't as overbearing in comparison but is worth considering lowering the volume slightly so that the non-bass instruments get their due presence. It's great to hear from you again, Brett, and the sound palette you've provided in this case is a charming one. But it has a couple of critical dealbreakers, with an underwhelming second half for your accompaniment and a bass-heavy soundscape. I'd like to hear another version with everything post-2:38 re-written and a revised mixdown. NO