Rexy

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

Contact information ReMixer name: Devastus Real name: Jani Syrjänen User ID: 24166 Submission information Name of game arranged: Tekken 2 Name of arrangement: HEADHUNTER Name of individual song arranged: Black Winter Night Sky Link to original: Comments: In the year 2077, the umpteenth King of Iron Fist Tournament begins with a bang, as the Mishima Corps' head figures are attacked by an unknown, ironclad assailant. This song is a huge nostalgia trip, I played the hell out of Tekken 2 and 3 as a kid and really liked this intro. A friend of mine linked the original song to me a while back and that kinda got my creative grooves going. I've had a long break from making music, and an even longer break from making remixes, so this was an ample opportunity to take a shot at it once again. Maybe it's the quarantine, but I've been drawn to cyberpunk-ish dystopia stuff lately, and decided to pull a twist and try my hand at fully (well, 99%) electronic music instead of metal or orchestral, which I've been usually doing. The end result is that I really enjoyed the process, and think it turned out intense, brooding and hard hitting (the holy trinity). Stuff used here consists of Reaper DAW, Surge (it's amazing, I used it for literally every synth sound in the song), some freebie odds and ends for the drum sounds and a guitar. Hope you enjoy! - Devastus

Hello! i'd like to submit a song to you guys. ReMixer name : Tikaal Real name : Corentin Rahil Email address : Website (youtube) : https://www.youtube.com/user/ike6252/featured?view_as=subscriber Userid : 36843 Name of game arranged : Pokemon Gold/Silver/Crystal Name of arrangement : Past meets Present Name of individual song arranged : Ecruteak/Cianwood city theme Additional information : Pokemon Gold and Silver were first released on the 21st of november 1999 for the GameBoy Ecruteak/Cianwood city theme was composed by Go Ichinose according to VGMdb Pokemon gen2 was one of my first video game and what got me into music. Ecruteak/Cianwood's theme is a very nostalgic track to me and always stirs me a bit haha i wanted to see what it would look like after i remixed it in my style, 15 years after playing the game for the first time hence the title : Past meets Present the title is also a nod the city description of Ecruteak city which reads : "A Historical City Where the Past Meets the Present" It also has references to Azalea/Blackthorne city themes, National Park and the main theme from the series. hope you'll like it! thank you. Corentin

Remixer Name: Faseeh, Joshua Kruszyna Real Name: Faseehudeen, Joshua Kruszyna Email address: Website: https://www.youtube.com/user/GottaGoFas , https://www.facebook.com/creationfromcrisisofficial User ID: 30380, 27669 Game arranged: Sonic Unleashed Name of arrangement: Adabat's Sunset Speedway Name of individual song arranged: Jungle Joyride - Night Composer: Kenichi Tokoi Hey OCRemix! Been a while, haha. Sonic Unleashed is a game I admired greatly. I pretty much got a console just to play it when I was young. I've loved 'Jungle Joyride - Night' since I first heard it. The track perfectly fits the level, with the serene sunset view, waterfalls and jungle depths. It feels melancholic and yet calming. This arrangement is filled with Jungle (hah) influences. Just like my last submission of Spider Dance in 2017, this is a Rock N' Bass track too. Sonic music is filled with awesome rock guitars and the Daytime levels in Unleashed featured lots of DnB/Breakbeat influences so flipping this track into this style just felt right. Just picture Sonic boosting through the level. I'm glad to have Joshua (formerly known as EXShad) on this track. He's a joy to work with and we've been friends for quite a few years. Felt like making an unapologetic banger, hope we succeeded! Thank you.

Hello! Here is my first submission to OCR. Contact info: Gamer of the Winds Gregory Orosz Submission info: Octopath Traveler Reminiscing By The River The Riverlands I wanted to add a little more depth to the piano part but also do a live remix that utilizes the piccolos low register and also the flutes low register. I hope you all like it Thanks, Gamer of the Winds (Gregory Orosz)

You put together a lovely orchestration, as always. At surface level, it's the usual affair of two different textural variations on the source. But the first 40 seconds consists of using the melody to develop a build into that first proper riff, while the ending goes back to it on the music box to close it out carefully. For a 30-second loop, this is more developed arrangement-wise than what I would generally expect from you. The mixdown is appropriate for the genre and leaves enough room for dynamic shaping. Though, I can't help but think the timpani's usage also left behind more sub-bass emphasis. It does feel funky listening on headphones due to this, but I couldn't think of any other way to give that instrument power in this setting. I agree with Larry and Joel on the brass's bland sounding tone within the first half, sticking out glaringly against the other instruments. But its articulations have been well utilized, letting the virtual players have room to breathe and shape their expression as the track goes on. Usually, it's the other way round with you, having a pretty sample and minimal articulations going, so consider me surprised with you pushing to make it work. Nevertheless, it's a short and sweet interpretation with some lovely part writing and playing around in the tail ends, with enough attention to detail on the production side (minus the brass) to carry it through. I wouldn't mind an updated render with a more polished tone on the brass, honestly, but it's still good to go as is in my book. YES (borderline)

What a creative arrangement! You guys took a tense final dungeon theme, then transformed it into a smooth 5/4 jazz jam session. A setting like this runs a risk of source unfamiliarity when reaching the one part with all the instrument solos (1:56). Luckily enough, 1 - the A section's chord structure held the foundation down for a good 80 seconds and kept that familiarity, and 2 - source melody is present everywhere else. You have a clever call-and-response between the violin and trumpet, your countermelodies elsewhere kept adding color, and how the leads cycle - particularly during the jam section and climax - keeps the soundscape nice and refreshing. Yet, that mixdown got me in two minds. The recording quality, balance and timing between performers are tremendous and precise, and they've all got their places in the mix to stick out. Though, I felt curious about two things here. Firstly, the mixdown feels as dry as a bone - as if the performance happened inside a cramped booth. That's something that slight amounts of reverb, particularly to your leads, could've helped mitigate. Secondly, when the drums start rolling initially, the snare feels boomy and congested in its tone, so it's not as sharp as I would've liked - but ultimately, it gets masked once the other parts get going. Ultimately, the pros of this submission outweigh the cons. It's a fun jam that takes the source in a unique direction, all with effective co-operation between your performers. Lucas, your growing social network is showing no bounds! YES

This track is a resub of a Direct Rejection from May 2019 - hence the prefix. -Rexy Name: Michael Hudak Game Arranged: The Legend of Zelda - Ocarina of Time Songs Arranged: Zelda's Lullaby (plus a bit of Prelude of Light at the very start and last final minute) ReMix Title: Princess's Narcan Sources: Notes: I know the main source for this is first heard in A Link to the Past...but several other remixes of it are listed under OoT, and that's when I first heard it, too, so I'm going with the flow in that regard! This is a resubmission from probably 2 whole years ago now, and partially inspired by the music of Lorenzo Senni, who uses supersaw synths (and almost nothing else) that act as both percussive and melodic instruments. I used layers of supersaws detuning themselves at various rates, slammed through compressors with various thresholds to try to make something percussive and almost overwhelmingly (painfully?) heavy/intense. This is maybe the 4th or 5th version of this track, and I hopefully found a happy medium between good production value and extremely abrasive sounds. I wanted the compression to almost sound like gunshots, like the drum & cymbal crashes in a modern rock album. Very whalloping and heavy. It's a heavy issue... Narcan is a drug that's used almost to instantaneously treat opioid overdoses. The opioid abuse crisis in the United States has been on my mind fairly regularly since 2017, and I think on the minds of many, many others. In the US, and especially in places like Philadelphia, where I live, it seems that "everybody knows somebody"; no one I'm close to is more than 2 degrees removed from either a struggle with the stuff already in progress, or a previous struggle that had a happy or sad ending. This song has a female protagonist, and she is in a very bad situation, but she lives to fight another day. The start of the song is an altered piece of the end of the song, representing a vicious cycle. I don't want to say explicitly that this remix represents an overdose and overdose reversal, but it intentionally goes through 3 different plateaus of intensity, and then a gradual "coming back to life" coda. I was hesitant to have a song from a (very popular) game provide the structure to a piece relating to drug abuse, thinking that it might trivialize or add inappropriate undertones to the issue. In the end, though, I think game music is more than respected enough to be used as a viable, honest weapon to fight against this kind of thing, and hopefully a song made for OCR (with an aesthetically sensational title) will add a couple of heart containers to *someone* out there fighting their battles. Alternatively, you can, of course, ignore the title and meaning and just try to enjoy the song.

That's one way to keep up source dominance - by having the bass push through a modified version of the main pattern (first appearing at 0:20) for most of it. And given that you referenced Martin Garrix as a reference, I can understand with the emphasis on bass grooves and varied breaks every four bars. The melody's usage starts straight-forward with some questionable fifth harmonies, then brought in some rhythm alterations at 1:56 that synergized nicely with the bass kick. The effect work going on during the B section at 2:24 feels almost Moroder-like and works well as a bridge between segments. Ultimately it goes into one last major groove at 3:19 that borrows ideas from the previous two melody uses and weaves in and out into the B section climax. In the grand scheme of things, it makes a lot of sense for you to interpret a bass-heavy source using Big Room influences - so much that the structure fits like a glove. The presentation works well too - well-balanced instrumentation, nothing clashing with another part, and plenty of fun EQ sweeps and synth envelopes to keep the pace going. Despite the lack of part-writing, the soundscape feels surprisingly full - and while I would've wanted a little less emphasis on the higher frequencies overall, such a decision to carry the non-bass writing forward is still very welcome. Nevertheless, what we have here is a well-developed arrangement that fits nicely around Big Room writing norms, with enough engaging in the soundscape to hold interest. It's also a potent sign of your continued exploration across different types of EDM - and I hope we'll hear plenty more of that on OCR down the line. Great work, Rob! YES

I appreciate how you turned this 6/8 source into 4/4 and let the new time signature dictate the genre direction - a very charming idea with an alt-pop vibe. The mixdown has an intriguing emphasis on warmth - felt more in the snare and the timbre behind your pads. If you want my thoughts on the balance, I believe the vocals should be louder in the mix as they're doing half of the melody work here. Some further EQ separation between said vocals and pads won't go amiss either, but see what happens with the vocal volume boost first and then decide. But Joel has nailed the pacing spot on. Every backing instrument makes the same 2-measure pattern throughout the entire track, and over 5 minutes, it does get stale very quickly. Even the uses of the source's A section differ little from each other, give or take the intro where you only used any notation present every two beats. See if you can find a way to make the second verse-source section (1:57-3:22) more texturally unique from the first. As for the auto-pilot drums, I'd suggest finding some subtle ways to embellish your percussion - whether it be changing up the kick-snare pattern on occasion, adding cymbals/hand percussion, or anything else that comes to mind. This track could be a more quirky entry to OCR's front page, but it needs more TLC in the background writing first. A volume boost to the vocals would be nice to have as well. It's a good start, Ian - so I hope you get to keep at it. NO (resubmit)

Contact Information Your ReMixer name: Ian Martyn Your real name: Ian Martyn Your email address: Your website: https://www.ianmartyn.com/ Your userid: 35158 Submission Information Name of game(s) arranged: Final Fantasy III Name of arrangement: It's On My Mind Name of individual song(s) arranged: Below the Deep Blue Sea Additional information about game including composer, system: Nobuo Uematsu, Famicom Your own comments about the mix, for example the inspiration behind it, how it was made, etc.: I decided to see what this piece would sound like in 4 rather than 3, and found that it worked well as a chill track.

This event had been discussed behind the scenes, and after much deliberation, I feel it's time to spread some holiday cheer! Anyway, I'm sure by now you know how a Secret Santa works - get assigned to someone, send gifts and the like. You can do so either physically or digitally - though, whether's the most convenient option is up to you. Please use this form to add your details. This will make it easier for me to keep entrants organized, and less clutter in my PM box. The deadline for signups is November 1st at 2PM Eastern Time. I will then match people up and send details out. Keep in mind that you don't need to spend a fortune to your recipient. It's possible to give memorable gifts that don't cost as much. Otherwise, come along and join up! Ho ho ho!

That's exactly it! Just submit as normal, but make sure to mention you sent it to the DoD x)

ReMixer name : The Geeky Guitarist real name: Ricardo Basora email address: website: www.youtube.com/TheGeekyGuitarist Name of game(s) arranged: Mega Man II Name of arrangement: Dr. Wily's Castle Name of individual song(s) arranged: Dr. Wily's Castle Thank you so much!

Wow, what an arrangement! I don't know whether to go introspective on life, shred an air guitar or pull off an indoor rave - it's a mishmash of styles that so fittingly work cohesively around a sparse arpeggio of a source. There are great techniques involved in all of them - the first one during the intro is handled straight and gets more warped from the bit crushing at the end of the loop, then it returns during the Basshunter-style hardcore section at 2:10 and adapts to the sudden time signature change. And for the final two runs at 2:56, you changed the key and doubled up the arp's notation. The chords remained uniform across all four showings, though, but it's required to demonstrate the rhythms' creativity. Oddly enough, I can't see any significant mixdown problems in the first metal section at 1:47. Yes, it's a textural shift from the intro that swaps out warmth for crunchier tones, but the soundscape didn't feel empty for it. The second metal section at 2:56 improved on that front due to the rhythm guitars providing support from the low mids to compliment the synth lead. If anything, I was more concerned about the lack of any other percussion at 2:10, with only a four-on-the-floor kick drum present - but the occasional sharp attacks on your synths and gated pads provide a suitable hi-hat replacement. The mixdown otherwise feels clean and smart, and while I can't be able to hear your non-Morse nuggets, I can feel your intent from the sound design and expression work - and it made me wonder how you put in this imagery. Even with its flaws, it has treated the source well and has a cohesive enough production to get onto the front page. But in a vacuum, the choice of source material and arrangement direction was what I needed to unleash buckets of built-up energy all at once - so I thank you for submitting this. Consider it an impactful debut! YES

Like with a lot of your arrangements, the interpretation is a tale of two halves. You have a straight-forward run at the beginning, then during the second half, you added original flute writing and went on to blend phrases from different parts of the source together, all before closing on one final run on the slow-string C section. Along with the textural developments in the background, everything adds up to a well-personalized orchestration. Now, the production side left me torn. Firstly, you have an intriguing mix that has more of an emphasis on low-mid-to-mid EQ than there is high, and with your notation being in a similar mid-pitch range, you've hardly utilized it. Brad's comment about the stagnant articulations and minimal percussion on your percussion and plucked strings gave me a suggestion - increase the reverb across both instruments, while also putting a high-pass on the effect to let the attacks feel more natural. Even on the legato-based parts (namely the bassoon and voice patches), the lack of release and volume shaping exposed their flaws. Don't get me wrong- the orchestration and personalization are great. But when a handful of essential instruments feel robotic, it adds up to a tough sell and a plea to further develop the overall articulations. I hope you'll get the chance to revise it. NO (resubmit)