Rexy

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

ReMixer name: bsolmaz13 Name of game: Unreal Tournament Name of arrangement: Facing Horizons Name of song arranged: Foregone Destruction

This source does not have a lot to work with - a straightforward melody and rising arpeggio, as mentioned in the submission letter. The slow-build intro with sparse uses of the lead didn't feel too promising on the source quota front initially. But at 0:47, the representation got more concentrated - focusing on the simple melody with a couple of note alterations to better fit this dance vibe you got going on, before shifting towards the arpeggio. I do like how, at 1:45, you decided to fill in space with arpeggios similar to those established in the source - smart move. The A section return at 2:29 had the melody stay as it was, but I appreciate the chill backing and eventual harmonies giving the progression a whole other mood. The original noodling at 3:13, between two arpeggio interpretations, has many fun synth envelope effects that make it a charming segue between sections. However, I am concerned about those two arp sections (2:58, 3:27) sounding identical to other previously established segments (1:16, 1:45), taking up 30 seconds in the track's run time. A more impactful climax outside of the solo would've been nice to have, but it doesn't dampen the running time too much, so consider it a minor irk. The mixdown is also very serviceable - a touch heavy on the low-end frequencies in terms of volume, but everything has its own defined space in the mix. The palette is full of variety, with the synth tones and support instrumentation, along with some equally charming volume fades between them. It did, however, leave two places of room for improvement. Firstly, the snare feels dry and stiff and might've done with some additional wetter layers to make it feel more like a contemporary dance snare. Secondly, while you've demonstrated volume fades for longer held synth notes, it could be cool for you to experiment with other effect envelopes and to see what works. Pitch and modulation immediately head to mind, though automating other parameters within your synth VST could open up to some unexpected results. As the track stands, it feels like a complete track, handles a short tune with absolute gusto, and demonstrates improvement with your music writing on both fronts. I bet it'll make a fair amount of impact on the front page, for sure! YES

The first half of the track has a simple run-through of the source, while the second half opened itself up considerably for textural variations. You brought in: The half-time drums at 1:52 that segued into a great use of the double kick pedal The sudden acoustic breakdown handling the B section at 2:22 The double-time drums at 2:47 Added extended bridges between segments to transition smoothly from one to the next And the C section at 3:01 repeating similar ideas to the equivalent section at 0:50 but also carrying different drum fills and a guitar overlay. The ending at 3:20 felt cheapened slightly, though, as it sounded more like a copy-paste of the 1:38 section with a big rock ending attached. Since this applies to less than 10% of the runtime, I'm okay with letting the ending stay as it is. Now, I've been torn over the production values here. It's clear that the Pixel Mixers QCT was happy with everything that got put together, and I can see why - great live instrument performances, a robust set of guitar tones, and an appropriate garage-like presentation for your overall ensemble. But like with Joel, I got frustrated with the harpsichord and the organ getting buried in the mix - and they're the ones carrying the bulk of the source's identity. Changing the EQ would risk altering their tones, which already feel delicate. Do try and see if you can make EQ cuts elsewhere to give the harpsichord and organ their presence, or just raising their volume if all else fails. It's so weird to send this submission back for something that may or may not be minor in the grand scheme of things, but evidently, I want more presence on your synth instrumentation before it can get posted. Don't change the arrangement - it clicked together as it is. Nevertheless, please make those fixes - it's so close! NO (resubmit)

You’re right. There’s only six of us including myself, which will make things pretty difficult, ngl. While I really don’t want to delay matching up due to Black Friday sales starting early, it seems that’ll be necessary due to the turnout we have so far. I’ll check the responses again on Monday and see what it’s like then; if still no change, I’ll hold off from matchups until Thanksgiving itself.

This source doesn't have a lot to work with, which initially left me baffled about how you got 5 minutes of arrangement out of it. Indeed, you did, letting the four-bar loop on the bass and keys carry most of the source content. Over time, you added your original melodies over the top and modified the bass or keys while letting the other part stay grounded. 2:38 had the bass change up the chord modulations while still keeping the basic idea for the keys in place, all while letting your saw synth keep pushing with more intense original writing in time to return to the original chords at 3:22. As a whole, it's hard to see this source get handled any way other than what you did here - impressive work for something so minimal. Due to the arrangement's nature, the mixdown has a warm quality, only pushing for higher frequencies when original melodies and high-pitched percussion are present. That said, nothing here bleeds into another on the EQ spectrum, and the tone variety of your synths is pleasing to take in, especially your mono-synths with those sugary glides. Like Brad brought up, I, too, would've wanted the leads a little quieter in the mix, but it's just a nice-to-have thing that could've been a stylistic decision to give more of that high-mid presence in the mix overall. It's also quiet with the peaks going below -4.5dB, but the mellow nature of the arrangement warrants an appropriate volume level like this either way, so I can't fault that either. Consider this a cool sounding debut, Richard - a submission that not only accomplishes the old-school RnB sound you aimed for but also takes a source with very little content and wrung so much out of it. Great stuff, and I hope you get to send more tracks our way! YES

Considering the source tune is one grand explosion of "theme and variations," I'm not surprised with the direction taken with your arrangement too! When introducing the theme at 0:16, you soon showed no expense at changing the backing as the melody evolved while also finding room to use different chord modulations and add transitions between sections when the source initially didn't have any. The string section at 1:53 feels more like something John Williams might do, using the familiar leitmotif and moving through chords. Finally, at 2:35, you went back to the theme, but with a different variety of backing and a transposed scale, and went in with the big finish. It's a peculiar arrangement - it can tread through the theme in one place and develop a fragment of it in another, making it a worthwhile effort overall. Unfortunately, I can't say the same for how you presented your orchestra. Credit where credit is due first; you mixed it well and made sure the parts are all distinct enough to identify in the mix. But as Joel alluded to, your notation feels robotic and lacking humanization. The legato notation on your brass and strings feel flat and unexpressive, the piano run at 1:42 sounds like it's locked to the grid, and your stabs also feel like they're at the same consistent volume. I don't know what patches you use, but if they have key switches, they're worth experimenting with changing your instruments' articulations on the fly. The same applies to any volume envelope shaping on your legato notation, which can be especially useful to trail notes in or out, depending on how you'd see it fit. I'd also consider it a good idea to input with a MIDI keyboard if you have one, but otherwise, go through your notation and manually edit your timings so that they're not entirely locked right on the beat. With the setup you've got here, I see potential in you. It's a great arrangement, but the humanization and lack thereof must get checked out if it'll get posted. Not bad so far, Chris, and I hope you get to return to this project. NO (resubmit)

Hey there! I don't think Jace has actually made any submissions to OC Remix itself, and even then, whatever he's made for enjoyment rather than a project usually is on his own personal web space and social media. But you aren't wrong about his storage getting pulled as of late. I'm afraid I can't help you with Robotic Photosynthesis as that's one I didn't know was out there, but I do have IDOLAtek on my person at least. He hosted that on his Soundcloud back in 2013, and considering he does a lot more beat making now, I can emphasize with why he wanted to retool himself. Good luck with tracking down the other one x)

Now, this is a great genre adaptation! With the original being a brooding composition in 6/8, it felt natural to morph it into 4/4 and aim for a direction that emphasizes a four-on-the-floor pulse. That said, the structure goes through two variations and a final buildup based on the A section - so a safer path, but you've done enough to distinguish both halves. The difference between the B sections (1:05, 2:53) is that the second one has some countermelodies while the first one doesn't. Then we have the A sections (0:12. 2:00, 3:42) with more daring changes - with the second one pushing for rhythm changes and stabbed chords, while the third one went back and forth between referencing the first four chords as whole notes and doing its own thing in the following four bars for the climax. This arrangement approach is a vast improvement from what I've heard from you in the past - so color me impressed! The synth palette has a great mixture of shaping, effects, and envelope filters, the latter being very welcome on your arpeggio runs. The balance is also very sturdy, but oddly enough, for much of the early part of the track, only the bass, drum kit and polysynths are present, resulting in the EQ shaping being very reliant on low-end frequencies. Even with more and more synths present, the bass felt set to dominate the soundscape, so I would've preferred it if it was a touch quieter in the mix. The arrangement's strength doesn't make this one aspect a dealbreaker, but it is something to observe if you decide to return to synthwave arranging at any point. Even with its minor flaws, it's a very worthwhile listen and a sign that you're pushing hard to get onto OCR's front page. With its strengths from the genre adaptation, arrangement variety and palette shaping, I believe you're about to make your mark. Great stuff, and I hope you keep being active around the community! YES

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): FF6 Song Title: Shadow Mood Songs Remixed: Shadow’s Theme I recently got some slightly more modern software! I hope the humanization will sound okay to y’all!

Hey remember when I made VGM remixes? I stopped for a long time but then I covered “Through the Storm, We Will Find a Way” by Garoad late last year and figured I’d submit it. Then I forgot, so I’m submitting it now.

Jean-Marc, I know I said I like to hear you experiment with your work - but I wasn't expecting you to entirely put the guitar to one side! Structure-wise, you allowed the bass to provide most of the quota leading up to actual melody use. When you got there, you ensured that no section variation sounded like another, which is not an easy thing to do considering your limited instrument setup. I particularly liked how you added harmonies to the melody at 1:30, making the second loop heighten this adventurous feel you've got going on. Going to how you articulated the strings, you managed key switches well and gave firm volume shaping to your legato notation - but at the same time, many of the notes feel locked to tempo rather than being slightly in or out. The piano also has that same stiffness, but the tone and velocity variation more than makes up for its placement in the mix. That said, the balance feels off in multiple ways. A lot of your backing strings took more prominence than the melody, higher-pitched solo string parts have a piercing quality in the mix, and the oboe isn't cutting through the mix at all. It's worth taking a look at your project file, tweaking overall volume levels so that the backing parts aren't as dominant, and making any necessary EQ cuts to both give the oboe its presence and cut back on unwanted sibilance on your strings. Even before hearing this track on the panel, I've said to you that it's a more daring direction than what I usually expect. But it's currently let down with a cluttered mix that needs another pass regarding both volume and EQ. Keep going, mon ami! NO (resubmit)

I'm co-signing with Brad regarding the arrangement as a whole - sloppy timing at the beginning and tonality in the final minute, as pointed out. Still, the driving force plowed on with theme runs under various rhythm guitar patterns, which is impressive for surf rock. The solo spot at 1:36 felt tight and worked some synergy with the backing, especially with the transition out into the third repetition. Yet, I'm afraid I have to disagree with Brad on the "cookie-cutter drums." On closer listen, there's plenty of variety in where the snare's ghost notes are and what cymbal got used alongside it - a case of sticking with few parts around the kit and finding ways to utilize them, therefore not making any two grooves sound the same. On the presentation side, the guitar tones are fun with tightly recorded leads, the rhythm guitars are well-textured, and your guitars' volume levels also feel firm. That said, the drums are supposed to provide a beat that punches through everything else, but it's hard to identify when the kick and snare feel masked. Consider either making small notches in your bass and rhythm guitars, respectively, to let them cut through - or raise the drums' volume. Additionally, for having so few instruments to work with, the mixdown feels stuffy - with not a lot going in the high frequencies, as Brad also pointed out. See if you can play with any of your non-bass instruments and find a way to round out that side of the EQ spectrum. Daniel, you know very well that I'll always appreciate your novelty for bringing surf rock to the community at large. Yet, I don't think this is quite ready for the front page either, I'm afraid. If you do decide to resub, I'd personally like to hear a revision that has some re-takes done on the tail ends to mitigate the timing and tone issues, plus another mixdown pass. You've made it onto the site before - and I know that you can do so again. NO (resubmit)

This source feels simplistic, even for PS1 standards. All you have to work with here is an evident melody, a slow-plodding bass, and a pad. The composition alone gave you plenty of room to expand upon it, and you managed to do so in very subtle ways. You used just the A section as your source provider and letting other layers ride underneath your melody line, brought the key down to C from the original's F, plus having the first half of your melody transposed back to the source's original scale for a unique voicing choice. I approve of these twists a lot - great call. Kain's kalimba running an alberti bass accompaniment is appropriately delicate for the laid back mood you established - though I do feel the constant use of the pattern is on the repetitive side. I would've preferred that to have a changed up accompaniment pattern for the piano solo at 1:16 instead of your accordion, something that still feels on the stiff side when it's doing something other than sustained chords. Nevertheless, the instruments all do their assigned roles, and that's something I can't counter. Naturally, with the minimalist instrumentation, the mixdown also feels pleasantly gentle. For the most parts, the instrumentation has their distinct spots across the EQ spectrum - though the accordion and piano ran the risk of bleeding into each other, and some EQ tweaking on either part - preferably the accordion - could've helped their spaces get more defined. The instruments' recording quality is pristine as I usually expect, and Kain's assortment of percussion certainly got used well. However, I did feel concerned for the volume as it hardly ever went above -5dB with one spike to the right barely going above -2dB, but the style and ambient space needed gave me second thoughts. Even with its minor presentation flaws, the track itself feels like a complete package to me. You nailed the interpretation, had fun with live instruments as always, and you've gotten used to knowing your collab partners' strengths. Lovely work there, Reuben! YES