Rexy

Your arrangement skills have been shaping up nicely since the last time I assessed any of your works! In all fairness, the source is only 80 seconds long, leaving room for interpretation aplenty. Indeed, it starts with a conservative take. Then at 1:01, you suddenly threw in an aggressive variation on the source's more somber E section, letting the loop then resume 15 seconds later. Following its conclusion at 1:39, it returned to an exploration of the C section along with a rad solo that trails between improvized writing and melody exploration. The E section's aggressive take returned at 2:04, with that same melody getting used for the big finisher and layered vocal finish. Indeed, the complexity is getting up there with your guitar skills - so I consider it a fun ride. Yet, the arrangement isn't without its faults. Firstly, the 2:04 section is identical to that at 1:01, so at least some subtle variation in rhythm guitar performance or drum writing could've helped. Thankfully, you did just that at 2:18 with the faster strums and the double kick pedal use, so that makes the blip feel minor in comparison. However, for all E section applications in the key of A minor, the first note at the fourth bar's start doesn't mesh with your modified chord structure well. Said pitch is an F#, just like in the section's scale in the source material, but it badly clashes with your chosen chord of F major. Reworking either your lead or backing can fix this, and I'm afraid you may need to ask Psamathes again to re-record the appropriate harmony for the ending as well. The recording quality of the guitars and vocals are top-notch, and the guitar tone itself is as brutal as I'd like to see in an arrangement like this - good stuff. The mixdown is okay, but it does feel very bass-heavy - as if there are too many sub frequencies going on. It's fair to roll a pinch of that off the bass guitar so the rest of the mix can breathe more. I had to think about the drum kit, though - I'm able to hear the parts, but the snare, in particular, isn't cutting through very well, with only snaps being audible. See if you can find where the fundamental tone is for your snare in terms of EQ and make some instrument cuts to let it pack more of a punch. I like the track for the most part, but those sour notes need to get addressed first and foremost before posting. While not as problematic in comparison, the stuffy mixing is also worth checking out, especially when getting the best out of your snare and taming your bass. Jean-Marc, I hope you still have your project file because this is an idea I'd like to get behind if you can refine it. NO (resubmit)

Contact Information Your ReMixer name: Almighty_Arceus Your real name: Jordan Wynne Your email address: Your website: www.youtube.com/c/AlmightyArceus Your userid: 33542 Submission Information Name of game(s) arranged: Pokemon Diamond/Pearl/Platinum Name of arrangement: "EEVEE used Swift!" Name of individual song(s) arranged: Route 209 Theme Link to the original soundtrack: Hey OCRemix, it's been a while! I'm coming at you with what i call a lo-fi "complexhop" remix of the classic Route 209 theme from Pokémon Diamond, Pearl, and Platinum. This ReMix borrows a lot of its EQing from lo-fi techniques, giving it a worn and vintage feel, which leans into the classic/nostalgic feeling this theme evokes. However, by tempo and feel, it is much more rapid and active than a typical lo-fi piece, and contributing to that in no small part is the fact that I arranged this piece in 5/8 time. This is how I arrive at the word "complexhop," but call it what you like, I'm not too keen to genres and I'm not so picky, so long as you enjoy what you're hearing This piece should impart a sense of majesty and nostalgia, but also energy and joy. Like a breeze in a way. I find the worn wash effect on some of the instruments, particularly the sampled chimes around 1:13 in, adds to this idea of a breeze, guiding you along on your excited journey as a Sinnoh Pokémon trainer. The chimes sway in this 7/8 breeze, and the drums keep you moving along (and with a little bit of punch!) Since I last submitted a piece to OCRemix, I feel like I have developed a lot as an artist. I feel like I have been developing a style of my own, and it's all thanks to the growth that the remixing community has brought to me. I'm hoping that this piece shows how far I've come as a ReMixer, incorporating some of my signature passions (odd time signatures) with my experience I have gained over the years. Hope you enjoy!

I've been going back and forth on this one for the past few weeks - and that's because when the track works, it really shows. The arrangement opens with Dark Star's A section melody on top of Prophecy's A section chord section, then goes through Prophecy straight following that, time signature swap and all. It then follows on with going back to the intermingling idea, back to Prophecy's A section at 2:06, an original tin whistle/melodica solo section at 2:32 that eventually adds that neat "Angel's Fear" cameo, the return to Prophecy's B section and a close-out with the intro's intermingling idea. So on paper, you've got a satisfying structure to go through from start to finish. Yet, the more I listened to it, the more unsure I felt over some of these repeated ideas. The first sign of it pops up with the 0:20 section appearing again at 1:26, but luckily the drum writing between the two variations is entirely different, and we can't go wrong with blast beats. However, 2:06 completely re-treaded the same section at 1:01, as did 3:10 repeating 0:39 but with a modified fill at the end, plus 3:31 also repeating 1:01 but with a modified blast beat finisher. That's over a minute of straight-up recycling, and a second-half like this one could've benefitted more from any different kind of backing changes to make them stand out from what happened before. The drum fills are a start, but even just changing the bass and rhythm guitars' rhythms can make a huge difference, and what you did before with the drum variance for 0:20 and 1:26 can also apply there. Now, the mixdown is an interesting case. It's on the bright side, but nothing's competing with another part, which is impressive considering your folk-based additions here. It's also clear you wanted to push for an audio direction similar to Eluveitie as Wes brought up - but the tin whistle is going for dominance above all the other instruments. I can understand why this is the case as a lead instrument, but the signal is too high, and it shows both on listening and on visualizers as well. Kris did a great job with the screengrab and showing how it pokes out of the mix, so any way to tame it and keep it in line - whether it be a re-EQ or a doubling up with another part - could help out here. I'm also not a fan of the melodica's tone, but it's one of those instruments you can't express naturally anyway, and it's got a modest amount of flange to make it sound the best it can in the mix. Ultimately, the tin whistle's peaks are problematic on the presentation side, while minimal variation is an issue for the arrangement. I don't think this is ready for the front page yet, but it is a cool idea that I hope you still have the project file around. If you do, it'll be great to hear a version that sits the whistle better in the mix and distinguishes the repeat sections in the second half. Good luck with the rest of the vote! NO (resubmit)

As usual, Rebecca, you've picked some lovely sounding instrumentation with more of an emphasis on percussion than anything else - something that brings out your raw strength when humanizing those parts. I'm not a fan of the sound of your violin VST, but on the plus side, you've given it some volume shaping, so it feels a lot better programmed than what I usually hear from you. There's no part bleeding into another one, which makes a lot of sense with the minimalist audio setup - but I'm with Joel regarding the quiet master. It peaks at -3.5dB during the intro and then doesn't even go above -6dB since. The delicate instrumentation does justify the volume levels here, but it's also one I'd prefer some normalization for at least. The writing has a pleasant framework to it - a steady intro into some motif development with variations. Yet, this source doesn't have a lot to work with - the slow fade intro, the four notes of bass, four bars of the same harp pattern, and some string harmonies. So it made sense to cover the source straight for the first 35 seconds, complete with graceful slowdown throughout to prepare for any transformation happening. However, what I heard after that wasn't so much transformation, but more like entirely original content. I went through the track so many times, trying to find any instrument phrase that sounded anything like any of the source components that I mentioned - but ultimately, I found nothing at worst and too many liberties taken at best. Rebecca, you've handled short sources before, so I'm sure you can find spots throughout your arrangement to make BGM use much clearer. It's a pretty track in a vacuum, shaped and produced well to capture that idea of floating petals in the wind. But I can't pass it if I don't hear enough overt source material. Maybe my fellow judges could prove me wrong with their breakdowns, but for now, I can't see this on the site unless the BGM quota gets addressed. You've got this. NO (resubmit)

What a chill groove you put together - with genre authenticity worth relaxing by. It gave a favorable first impression with some modified notation on the A section and most of the track having textural variations shaping around that same part. The B section doesn't arrive until 2:18, and even then, it looped twice in building textures to go back into the main beat. So while I appreciate the ideas you've got going, this track has a couple of substantial autopilot issues. Firstly, the A section's melody notation got repeated throughout the track, outside of the B section break. See if you can go through the other uses of the source and find ways to vary it - whether it can be with new harmonies, revised note rhythms, or even changing up the chord modulations every once in a while. Secondly, the groove you established at 0:28 got repeated straight twice more (1:50, 2:45) - and while it's possible to go in that direction, just tweaking the textures or drum beat between them can be more than enough to make them feel more distinct from each other. The mixdown is decent - nothing clashing with another part, save the leads needing to be a pinch louder as they're carrying most of the source use. The sound palette feels quirky to me - you've got a mixture of dry organic tones with some wetter leads and backing parts. Unfortunately, those dry instruments stick out like a sore thumb, and even more so when panned heavily in one direction like your Tamborine on the right and the B section's string patch to the left. A touch of reverb across your pitched percussion, in particular, could de-expose them. And as Joel brought up, either that opening harpsichord at 0:25 isn't on the beat, or you've got a delay ping louder than the primary signal. See if you can get that fixed as well. Considering this is your first sub, George, you've got some sweet ideas with the RnB direction and initial source presentation. But with autopilot issues and exposure of your more organic parts, it's a tough sell, unfortunately. I'd like to hear another version with added melody and textural variations, as well as a remedy for the fakeness flaws on your sound palette. Whatever you do next, keep at it. NO

This track gave me a fantastic first impression! You turned the source into a waltz, the sound design is unique, and the altered chord modulations allowed the melody to sit comfortably over the top. All this stayed true on repeated listens, with various leads and articulations keeping the motif iterations refreshing despite sharing identical notation, plus that dramatic choir and brass interchange from 1:08 being a great segue between run-throughs. I'm also with Kris regarding the tame finisher compared to all the drama the rest of the mix had, but I can't let that influence my feelings elsewhere. Indeed, I still like your ethnic approach to the sound design with your choice of percussion and wind instrumentation. The humanization on those parts feels organic, as does your variety of articulations across all instruments at any one time. Yet, the strings' attacks feel stagnant and not realized as much as other parts, and some volume shaping on your legato notation on those same strings and woodwinds can also help give them more of an edge. This mix does feel muddy when the full ensemble kicks in, but in quieter sections, everything feels so much clearer to take in. And as touched upon, the mixdown hardly ever goes above -3dB, which is strange on a track written for dynamic emphasis. While a general cleanup would be okay, I am also aware that the sheer ambition behind the arrangement outweighs all the cons put together. Kris may think that there'd be a handful of NO votes based on the track's production, and she isn't wrong about the weaknesses on board. But when the interpretation and part-writing are this good, along with a coherent effort on articulations, I feel the track can get posted as it is. Whatever you learn from this process, Adam, see if you can apply it to future projects - because this is still one impressive debut! YES

Frankly, I wasn't too impressed with the first minute - it sounded more like a sound upgrade of the source itself. But as the pads and drum writing kicked up during the B section, that got me more than set to see everything else in play. You got the high-passed Azalea Town cameo at 1:00, the second variation with the smooth vocals and rad guitar solo, the build at 2:04 leading into the Pokémon theme shoutout, and the segue into Azalea going on top of the B section at 2:52 to close things out. I admit I didn't hear the National Park BGM, as you mentioned in your email, but that doesn't matter when all your run-throughs of the theme sections are so distinct it kept me engaged throughout. Fun stuff! The choice of sound palette is also very charming - starts with dry percussion and synths, then evolves with richer textures, significant guitar/keyboard articulations, and attention to fun effects when necessary. The live vocals have a pristine recording quality, as do the guitars, and no part is interfering with another in the mixdown. Nevertheless, having the maximum peaks at -1.2dB with this pumping intensity is a considerable risk when aiming for loudness, especially when artificially sustaining the crash cymbals and giving them an unnatural swell. If loudness is indeed what you're aiming for, then it'll be nice if you can weaken any compressors in your master chain for the next set of projects you export, as well as bringing the peaks much closer to the ceiling. As a result, you provided a cheerful and lively arrangement that never outstays its welcome, along with such bouncy production values with some swagger despite the sausage presentation. Remember to keep a close eye on your master chain for whatever you do next, but otherwise, consider this a powerful debut! YES

There's something about this particular source and short arrangements. It's somehow a working formula, and this track is no different. The interpretation of the theme is incredible - you've kept the bell backing as it is but brought everything else into half-time, and that just made it evolve into a more cinematic character. The build into the soprano at 1:21 served as a great climax, keeping the familiar arpeggio and B section's chord structure while letting the articulations move the pace along. Like Kris and Joel, I would've wanted another minute with particularly an exploration of the C section, which went unused otherwise - but the handling of the source here is still more than enough. Regarding the mixdown, barely anything sticks out and blends into anything else, and your articulations, reverb and delay have been used to significant effect in bringing out the instruments' strengths. Said parts are some lovely sounding samples for the most part, with a generous layering of ensemble patches for your backing textures. Though, just like Kris, the trumpet patch at 0:26 doesn't sound as convincing as the rest of the ensemble and could've had some extra layers itself - yet, it got used briefly enough not to impact the full scope. Ultimately, the track does its job in bringing a brief yet well-polished arrangement that would fit right at home on the silver screen. If this is your first sub, Ly, then I'm more than curious to know how you'd follow it up - excellent job! YES

Hello, I would like to submit my remix of the "Theme of Love" from Final Fantasy IV. Contact Information Remixer Name: George Shepherd Real Name: George Shepherd Email Address: Website: www.youtube.com/user/SuperBuckleMan Submission Information Game: Final Fantasy IV Arrangement Name: "Can't Get Over You" Song Being Arranged: "Theme of Love" Original Composer: Nobuo Uematsu

Remixer name: Bluelighter (arranger) (ID 21840) ; Bowlerhat (ID 30366); Chris | Amaterasu (ID 23512) Real Name: Guillaume SAUMANDE; Jorik BERGMAN; Chris WOO Mail: Game & Songs: Final Fantasy 9 – Cleyra and One Danger Put Behind Us Composer: Nobuo UEMATSU Interpreter: Bowlerhat: Flute Chris | Amaterasu: Violin Hi OCR, Here is an orchestra arrangement of "Cleyra's Theme" from ff9 (and a little of "One Danger Put Behind Us"). I've started this some years ago, but I let it in stand-by to work on my Treno remix. Two instrument players have collaborated with me: Bowerhat for the flute and Chris | Amaterasu for the violin. I'm really grateful for that! Their recordings give to my arrangement a new dimension. At the beginning, this arrangement was thought only for Cleyra's Theme (without the middle parts of this mix). But I founded interesting to introduce also "One Danger Put Behind Us" into the arrangement. I had several influences for this one: Celtic, movie, march band… I came where I wanted, following my inspiration and my mood of the moment. With the title, I tried to summarize all this. I liked the idea of a tournament, like there was in Middle-Ages. I imagine the princess in the soft parts of the beginning, the knight's arrival (at pt5), the heroic fight (at pt6), the celebration of the winner who marry the princess at the end Nothing to do with the original story. It's another vision of Cleyra! In the whole, original sources are easily recognizable. Maybe the part 6 sounds strange. Two melodic lines and tonalities of the two original tracks overlap. Even if "One Danger Put Behind Us" is brought out in this part, notes of Cleyra reminds the place of the scene and allow me to return to the center melody at the next part. Enjoy! BREAKDOWN Originals Cleyra : 0'00 Melodic Line 1 0'36 ML2 0'56… repeated One Danger Put Behind Us 0'20 ML3 0'42 ML4 1'03 unused 1'35… repeated Arrangement 1- 0'00 intro (Celtic Style) 2- 0'10 ML1 (Celtic) 3- 0'43 ML2 (Celtic/Funny -> March Band) 4- 1'04 ML1 (March Band) 5- 1'25 ML3 (March Band) 6- 1'56 ML4 and ML1 together (Heroic) 7- 2'40 ML1 (A little March Band, soft instrumentation) 8- 2'58 ML2 (March Band) 9- 3'37 Outro (Celtic)

Many of my thoughts got touched upon already - so kudos to Kris, Wes and Deia for checking it out overnight! When I started listening to this track in the inbox, I was concerned about where the source would kick in after that extended cinematic intro. Luckily, once it made its arrival at 1:29, it stayed there for the rest of the track - so source use is ultimately not a problem. All variations that followed on are all distinct from each other, too. The first one doubled up on the A section and kept with the bass-ambient feel previously established, and then the second one supported it with acoustic drums, juicy pads, and more developed chords underneath. And the dramatic zig-zagged movement from root to diminished chords at 4:03 was the icing on the cake and a powerful way to set up the closure. Even though the melody stayed the same, the textural shifts and especially your chord modulations in the second run had done more than enough to let it stand out. Great stuff! As much as I love most of the arrangement, there is an irk that caught my ear. The transition into the source properly at 1:29 could've been smoother than relying on a bar of 11/16, which will sound odd in any context. But it's a little part of a much broader picture, and I feel okay to keep that aspect in as it is. And wow, that sound palette is mind-blowing - lovely attention to reverb, delay, cinematic swells with articulations, and overall thickness of your sounds. The lead, as Wes pointed out, isn't too exciting in comparison to your backing textures - but it does offer up a down-to-earth counter for just being what it is. The balance and mixing are mostly well polished, as all parts have their own defined space in the mix, and there's no severe collision between sounds. I felt the high-frequency lead at 1:57 was just a hair too loud, and unlike Joel, I felt the melody at 3:09 could've had some further whack to it, so it doesn't blend too close to the pads. Neither of them is a dealbreaker, as both aspects are too brief to damage the bigger picture. What I heard overall is a very, very solid debut from you, Peter. While it does take longer than it needed to get to the source, it explored it via the backing and complimented it with some impressive cinematic sound design. If this is what you're like for your first post, I'm excited to see what your next few can be. Welcome aboard! YES

Hey, this a fun performance! Performances are mostly on point, every instrument has its own defined space in the mix, and the balance is precise. Your lead guitar's flanger effect is very subtle and helps contribute to expression, so I didn't feel it needed more presence than what it got. I do have two little concerns for the presentation. Firstly, the countermelodies at 1:20-1:30 are looser than the rest of the mix, so a re-take can refine it if editing the raw audio can't. And secondly, the tail end of the track got cut before it can fully fade out - so watch out for those with future renders. Neither of the production issues feels that troublesome in comparison to the arrangement, though. To your credit, you presented the run-throughs for each source in a different way. You distinguished the first two of the fight theme with a lead in different octaves and the third relying on harmonies. Meanwhile, Little Mac Down had similar-sounding first and third run-throughs separated with different rhythm guitar rhythms and the second having the accompaniment stab in the background while the melody did its thing. But neither the core melody itself nor the chord structure get changed up in all variants, as did the drums outside of fills - and when there's not enough done to the sources, that's a critical flaw. Finding ways to modify the chord structure or melody further in individual variations could make them stand out, add an original solo on top of the existing chord structure, or even a temporary sub-genre change during one of the loops. Those are just a few ideas of many, though I also encourage you to jam together and look out for new performance ideas as well. You all did great together with a well-produced rock cover, but that's pretty much what it is right now - a cover. Right now, it needs more interpretation before getting shown on OCR, so it'll be nice if you can all get together and start experimenting. Keep going! NO

I'm afraid I'll have to disagree with Joel regarding the arrangement's introduction. You opened with the intro's chords, then went straight into adapting the middle flute section. It's such an unexpected way to start the interpretation off - and while this rendition technically isn't a sonata in form, the first 40 seconds certainly has the draw of one. Otherwise, the structure goes through the whole source straight with "Orgel of Water" attached to the end. It's not too cerebral on paper, but the mood variations across all verse and chorus appearances are worthy compromises. The first one at 0:42 opens things appropriately with middle-oriented keys. The second verse at 1:29 varied the melody line while shifting a whole octave higher before going more dramatic with the chorus. I felt it was smart to overlap the last two bars of the hook with the first two of the bridge - good catch. The altered chord modulations and rhythm emphasis for the final verse at 3:12 changed things up on a tonal level as well - though, there was also a very sudden jump from the rubato focus in the previous section. A way to smoothen out the transition would be nice to have but is still okay to take in as it is. The performance is as wild as I usually expect from you - very natural and raw. I would've liked the pacing at 2:32 to be less jumpy and tighter in tempo, but it only accounts for 15 seconds of the track, so it's not a significant concern. Mentioning your choice of piano tone and presentation would be like a broken record at this point - on par with previous works, and gotten the best out of the performance alone. Again, when the track gets loud, the accents get muffled from your compression - and based on what I already said on your FF5 mixpost, I'm sure you've got an idea on how to tame it. It's postable as it is, thanks in part to the strength behind the quieter sections and the staccato emphasis at 2:32. As a collective whole, the pros outweigh the cons. It's a lovely piano adaptation with plenty of expression variations, human performance, and a stable presentation. Let's get this posted! YES

You almost threw me into a loop with that minor scale modulation at the beginning - that is very clever coming from you. Following that, though, the track went straight into a more textbook arrangement territory with four different textural variations - and thankfully, they all vary in instrumentation and dynamics. The first one was the closest to the source with all the piano and bell runs, then the second one at 1:05 stripped out every second note from the arp and placed them onto the staccato strings, with prior established parts all providing backing. The third and loudest variation at 1:39 set the arpeggio further into the background, with the legato strings taking center stage with original padded harmonies. Finally, the closing run at 2:21 cut out more of the arp's notes from the first half, with every second downbeat this time - appropriate to pace slower towards the calming finish. Again, this approach isn't revolutionary, but it takes a simple source in different directions and gets the job done. It's a clean mix - though I expected that, considering the lesser amount of instrumentation involved and the dynamic spread. It's a wide one, too - peaks at -6dB during the third iteration, save for the pizzicato string in the right speaker going further to the ceiling. I said it in one submission of yours, and I'll repeat it here - some light master compression could help tone these sudden peaks down, so they're more in line with the others from that same instrument. The pitched percussion again sounds lovely with their velocity variations, as does many of your keyswitches across other parts. But once again, the legato notation across your strings and woodwinds can benefit from volume shaping to get their expression in line with everything else. Neither aspect is a dealbreaker, as the delicate direction you've aimed for works well otherwise - but they're still some food for thought. As a complete whole, I sense a simple arrangement with enough attention paid to delicate dynamics and textural shaping to get it onto the front page. Nevertheless, the site hasn't had any FFA coverage for ten years, and what you did is enough to give it some time back in the spotlight again. Nice work. YES

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Seiken Densetsu aka Final Fantasy Adventure Song Title: Sacred Horizons Songs Remixed: Overworld 2/Search for the Sacred Sword

ReMixer name: Garrett Thompson Name of game arranged: The Legend of Zelda: Skyward Sword Name of arrangement: Variations on Skyloft Name of individual song arranged: Skyloft Additional game information: Composer: Shiho Fujii Link to the original soundtrack: Additional commentary: I made this because I got the A-section of Skyloft stuck in my head for three days straight and needed to exorcise that demon. The arrangement I made to do this then sat around on my hard drive for about six months collecting virtual dust. I rediscovered it recently and found I was still a bit fond of it, so I decided to have a go at giving it a proper rendering. I might ruin it by mentioning this (or perhaps it’s obvious) but this track is all sequenced music. I took some extra time in producing it to fiddle around with the dynamics to hopefully create a more organic sound. I don’t know how well I’ve been able to maintain the illusion of a live performance, but I hope at the very least it doesn’t sound distractingly artificial. It’s… probably physically possible to play on a solo piano? But I’m not much of a pianist, so a sequenced track it will remain. Thank you for your consideration, Garrett Thompson

Hi OCRemix Team; We're a video game cover band from Barcelona (Spain). After 5 years of live performances across the country we recently have released our first studio album with some of the tracks we used to play live. We would like to submit one of those tracks to your site, so we're sending to you the file (attached) and the required information below. Kind Regards The Belmont's Revenge Team. Submission Information Name of game(s) arranged Punch-Out!! Name of arrangement Fighting Spirit Name of individual song(s) arranged "Fight theme" and "Little Mac Down" Additional information about game including composer, system, etc. (if it has not yet been added to the site) Released by Nintendo on 1987. Composer: Kenji Yamamoto 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. This track it's a heavy metal medley of two songs from Punch-Out!! played with the classic rock formation: 2 guitars, bass & drums. All instruments are played entirely by us, no previously programmed rhythms. This was recorded at GoldenAxe studios (Barcelona); sadly, it no longer exists, we blew it up at the moment we start to play... just joking, all the crew is fine Contact Information Your ReMixer name Belmont's Revenge Your real name Marc Belmont (Guitars) Jordi Cartes (Guitars) Carlos Puig (Bass) David Barqué (Drums) Your email address revengebelmonts@gmail.com Your website Youtube: https://www.youtube.com/channel/UC37ZRqSL_e_z94EXguzOjoA FB: https://www.facebook.com/belmontsrevenge/ Instagram: https://www.instagram.com/belmontsrevenge/ Spotify: https://open.spotify.com/user/ziazuq6ndsc5pk5x89e19o5tq Web: http://belmontsrevenge.es/ Your userid (number, not name) on our forums, found by viewing your forum profile 36858

Your ReMixer name SPIRAL_SYSTEM Your real name Parker Walker Your email address Your website https://www.facebook.com/SpiralSystem-112016667209300 Your forum name SPIRAL_SYSTEM Name of game(s) arranged Streets of Rage 2 Name of arrangement Malicious Intent Name of individual song(s) arranged Never Return Alive Composer is Yuzo Koshiro System: Sega Genesis This is by far my favorite BOSS song, as well as some of my favorite video game music of all time. To make this remix, I used a FM synthesizer (chipsynth FM) that emulates the original FM synth engine of the sega megadrive in order to really get that retro sega distinctive feel, but at the same time bring the music up-to-date and to a new level. All the sounds, besides the drums, were made with this synthesizer! Thanks for your consideration!

Hi. Here’s my latest submission. Hope you like it. It is a very dark remix of one of my all-time favorite Metroid-songs. Contact Information Your ReMixer name: Gaspode Your real name: Peter Köller Your email address: Your website: https://www.youtube.com/user/gaspode8 Your userid: 26608 Submission Information Name of game(s) arranged: Metroid Name of arrangement Name of individual song(s) arranged: Kraid’s Lair Additional information: Metroid, NES, Music by Hirokazu Tanaka Link to the original soundtrack: Bye, Peter

REMIXER INFO ReMixer: theStyg Real Name: Adam Halpin Email: Website: https://www.robotcoffin.com/ UserID: 31824 TRACK INFO Game: The Legend of Zelda - Ocarina of Time Arrangement title: "And the Woods Shall Dance" Original song: Lost Woods (Saria's Song) Description: I've had an arrangement in this style in mind for a while and just had to get it out. One part manifestation of my interest in ethnic instrumentation, one part Karl Jenkins impersonation. It uses a lot of instruments from around the world, primarily African and Andean.

This arrangement has an okay structure - using melodies and chord modulations from the source but cutting some sections short or out altogether to fit this more acoustic-like direction. I also appreciate how you did those last-minute key changes at the end - an idea inspired by the last 20 seconds of the source. Instead of one modulation, you went into two different minor scales (F and B flat) one after the other - a robust approach. Though, aside from the quiet countermelody in the background, your assigned instrumentation doesn't deviate far from the original's foundations. See if you can play around with the rhythms, chords, and articulations further to make the arrangement sound less vanilla. The balancing of your parts is okay, but the mastering doesn't feel poignant. A good chunk of the audio doesn't go above -5dB, with your booming hits being way louder and closer to the ceiling. It gives me the idea that you didn't add a multiband compressor to your master chain, so adjusting one to suit your needs could go a long way. Alternatively, adding compression to individual instruments can level the impact - but not on the piano, as it's more organic by design. Talking of which, the sequencing on there is hugely rigid, so find a way to humanize it, whether using a MIDI keyboard to perform the parts or going into the piano roll and adjusting timings/velocities that way. And as Joel said, each instrument lacks presence, which is something that refining their individual EQ can help. Remember to put the EQ before any compression unless you want to make EQ changes on the effect. It's not a bad start, Simon, but it needs some considerable workshopping if it makes its way onto the site. Find ways to transform the source further, experiment with EQ and compression, and look into humanization. It's an okay first submission, though, so I hope you'll keep at your craft. NO

Great source pick! Believe it or not, I've put more hours into Tekken 2 than any Street Fighter game - so I can relate with your blurb, Jani. It made a lot of sense for you to adapt the source into a cyberpunk feel like this. The progression goes through one loop with some developed segments, each with some unique textures and shaping. I sensed it with the arp's application on the bookends in shaping suitable for the genre; the original's polysynth adapted to the half-time breakdown at 0:52; the mid-section piano brought to the mellow plucks at 1:08 with some chord transformations; plus the guitar solo at 1:24 having some minor rhythm modifications. The return to the half-time drums at 1:40 felt alarming as compositionally, it returned to the same idea established before, but the added faint guitar chugs and solo at the end cemented its place. The palette is also really cool - a great choice of synths and your guitar tone/performance is excellent as always. However, Joel and Justin got the mixing issues spot on. This mix is over-crowded, particularly in the bass frequencies where the lower-tone synths occupied so much room that it's not giving the other parts a chance to cut through. Justin also homed in on why the drums didn't have that low-end power in the half-time drops. By looking at those low-mid synths and their EQ settings, you can find a way to clear space for that rumble to make its way out. I'd also recommend you let the ending fully fade out, so watch out for that when you get back to the project. Honestly, with 18 years since djp released his take on the game's ending, it'll be nice to hear some more coverage down the line. If you can revise the mixing on your lower-tone instruments, I'll be more than happy to listen to the track again. It's so close, Jani - keep at it! NO (resubmit)

This orchestration is pleasant, as always. You've kept up source domination for a good 70% of the time, went through two variations with textural differences, and the expression on Steven's ocarina added some unique fluctuations that the original melody didn't have. You even allowed him to develop on the writing part way through the second run-through (2:20) - very pleased about that. However, I'm with Kris in saying that the extended ending felt unnecessary. It doesn't call back to the source, and the second variation's dynamics were calmer anyway. Since the source quota still checks out, I'll be okay with having it stay. Addressing the presentation - I'm used to hearing quiet renders from you, but I find it peculiar that the volume levels remained below -5dB across the board but peaked close to -1db only on the right speaker. Nevertheless, the delicacy served as enough to carry the soft tonal percussion forward, with all hits bringing such lovely expression forward. You also thought wise to get two ocarina recordings an entire octave apart from each other, which negates the instrument's shrillness when used solo. I'd also like a fix for a little pop at 0:26 on the right speaker, but it's masked so well into the percussion it's not that simple to spot. This track has some minor flaws regarding the volume and the drawn-out ending, but everything else about the writing and technical side check out for me. Good luck with the rest of the vote! YES

I'm afraid I have to disagree with Brad regarding the level of exploration. Given the amount on display, that aspect needs a lot more credit. Adapting the straight-forward bass to more developed rhythm chugs is one thing, that's for sure. But so is bringing the drum progression into half-time (quarter in the intro), working with different textures and chord modulations to separate it from the original structure, adding counter-melodies to the A section at 1:12, and further development on B at 2:34 with grace notes and harmonies. That's a lot packed in for something so minimal, and that's cool all on its own. The only writing concern I had was dynamic shaping being so minimal with little room to take a breather, but the spoken word section at 1:43 and varied drum writing throughout helped shape the overall progression. You got a cool aesthetic down, too - very roomy, with tasteful reverb on your drums for that more spacious stage feel. All your instruments (and voice) got recorded tight and cleanly, and the parts all feel identifiable in the mix. However, your lead for the B sections - mainly your first at 1:53 - could've done with a volume boost as it carries more of the melodic focus than the chugs at that point. It's not a dealbreaker as said chugs lift the sound design just as well as the source progression, so it's more like something to think over. Even with one or two flaws, it does enough to get over the bar, onto the front page, and straight onto Dave's eager mind. I should fetch some popcorn for the writeup! YES

Ooh, this is a great twist! You changed the time signature from 4/4 to 6/8, allowed the C section to get built on chords (1:04, 3:18), and allowed the other components to drive the rest of the melodic progression forward. Using the first half of the C section like this does sound more farfetched at first, but the full melody addition later on in the first use (1:33) both works with and justifies the applied technique. Admittedly, the comping in the third minute does meander away from the source's foundations, but the dominance elsewhere doesn't make it too hindering. The presentation works amazingly well, too. The effect work on the synths are sublime with all of their different tones and articulations, the clarity is spot on, and some of the trippier glitching and detune effects add more to the immersion. There are two minor concerns, however. Firstly, the average RMS is a decibel or two higher than what YouTube standards expect, and while it's not a kicker, it serves as a caution to watch out on your mastering. Secondly, I sensed there not being as much in the mid-highs than the lower half of the EQ spectrum, though the later use of polysynth pads and SID-sounding leads negate this whenever they make their presence. I'm with Larry on the source, to be honest - a straightforward and forgettable one, but turning it to an opposite mood with such execution is a sure-fire way to get it to stand out. Good work, Chris! YES