Rexy
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ReMixer Name: PavosName of game arranged: Golden SunName of arrangement: Back to the FieldsName of song ReMixed: The Angarian Journey
* Part of the Golden Sun Album *Comments:Hi everyone!It's been a while (a year I believe) since I submitted anything, since 2019 has been quite a challenging year for me. It started out pretty good, but since May I've been dealing with serious medical issues (including a high sensitivity to light which prevents me from working on music), health issues of my dad, being unjustly fired from a job which I got back with a lawyer (but that was pretty stressful), medication that was out of stock and quite some more. Let's just say it's been eventful, but somehow it seems that happens to a lot of musicians. It's not all back to normal yet, but at least things are a lot better and I've gotten somewhat of a grip on most of the issues.This track, as part of the Golden Sun album, was made in that... tumultuous time. I'd all but given up on finishing this on time for the album and I want give a huge thanks to the project director TSori for being so understanding. The "don't worry about it, health comes first; if you finish it that's great but if you don't that's understandable"-mentality really helped me in trying to work on it whenever possible, but not feeling guilty when I couldn't. The same goes for my BadAss co-director David L. Puga, but that's a different song and a different album
. It kept working on it fun for me. Contrary to TSori's and my own expectations I was able to finish it on time for the album. MindWanderer had some comments about production (a lack of mid-range), but that was something I wasn't able to change during that time (a huge thanks to the mastering engineer for making some final adjustments in the end).
That was months ago and I've finally found the time and state of being (after finishing directing and making a track for the new BadAss album) to put in that extra time in the production department and can finally call it done and (in my opinion) up to OCR standards. Sorry for the long intro, but I believe making music always comes from emotion and state of mind, so this will give you an extra background to this piece and why it's extra important to me.As for the track itself, the album notes describe it well:TSori asked me to contribute to the Golden Sun album, and after some thought I was happy to do just that! Golden Sun has always been one of my favorite handheld games and RPG's in general, and that was in no small part due to the amazing soundtrack! I picked the first overworld theme as a source, because to me that's when the adventure truly began. A world of possibilities, wonders and adventure had just opened up to you, as a player. TSori said he liked the atmosphere in my tracks with as an example my Magus ReMix, which was influenced by Dexter's 'Blood Theme'. That made me want to make a ReMix based on something else again, because it's so much fun to do. And I've never had more sense of wonder and adventure than with the Back to the Future theme!With the limitations of OCR concerning non-VGM-influences, I've taken what I think are the four magical notes from BttF and combined those with the first notes from the material from the Golden Sun source. I've changed some chords here and there to mimic the chord progression from the BttF theme throughout the track, and I wanted to keep the feeling magical and playful. I made some use of choirs and bells, but I never wanted this to feel too bombastic. Of course, the entry of the Golden Sun had to pack some punch, so I pumped up the energy in those few seconds. I couldn't resist at around the 2:13 mark and added some direct melody from the BttF theme, since they blended so well that I just had to do it. I hope that 6 seconds of non-VGM source is acceptable
The most challenging part was the ending, because BttF has such an amazing ending with their chord progression, but it didn't really fit the source material from 'The Angarian Journey'. So I had to make quite some changes to both sources, but in the end, it really came together very well! After listening to this, I have both the original BttF theme in my head, as well as the original Golden Sun overworld theme, so I feel like I was successful in my goal!Now for the source breakdown:0:00 - 0:30: I've taken the first 4 notes of the original (one time the first 8 notes) from the original and combined it with a Back to the Future-esque bell pattern0:30 - 0:37: Sustaining the note, but I guess that doesn't really count as source0:37 - 0:44: The same as the first part (the bell plays the Golden Sun 8 notes here as well)0:45 - 1:18: Original writing1:19 - 2:13: Basically the source material from the start2:14 - 2:21: Back to the Future
2:21 - 2:29: Mostly silence2:30 - 2:38: The start of the source material with different chords2:38 - 2:50: The Back to the Future-esque bells from the start of the mix2:50 - 3:05: The first part of the source again, only now with some variations in the main melody3:05 - 3:14: Also altered source, but probably altered beyond recognition (from the 0:06 mark in the YT-link).3:15 - 3:22: Slightly altered (and slowed down), but it's the part from 0:30 in the YT-link from the source3:23 - 3:37: A Back to the Future-style ending, using the first 8 notes from the source material (this was a LOT of work to figure out)3:38 - 3:43: The first 12 notes of the source material3:44 - 3:47: Back to the Future ending notesEven if you're not counting the 3:23 - 3:37 part as source I get a total of 126 seconds out of 227 (not counting the silence as the end of the track) of source material, which with 55% source usage should be in the clear. Counting the 3:23 - 3:37 part as source gives a 62% source usage.Sorry for the long read, but hopefully you guys can enjoy this Back to the Future-style version of the Overworld theme from Golden Sun!Cheers,Pieter (Pavos) -
Hi,
Here's my submission of a track from Final Fantasy VII.
Submission information:
Game: Final Fantasy VII
Arrangement Name: When The Planet Fights Back
Song arranged: Weapon Raid (Attack of the Weapon)
Contact information:
ReMixer name: infinitytone
Real name: Karol Kosacki
Email address:
Website: https://www.youtube.com/infinitytone
userid: 34463
Hope you have fun listening and have a great week!
Best, -
Hi OCRemix judge team,
This is our submission of Into The Cold Light, a Half-Life 2 metal remix.
Contact Information:Remixer Name: BKMReal Name: Björn Kirchhoff
Mail:Website: https://wrongsideaudio.comUserID: 32752Remixer Name: TheBitterRoostMail:UserID: 32609
Submission Information:
Game: Half-Life 2
Remix Name: Into The Cold Light
Arranged Song: Triage At Dawn
Original Composer: Kelly Bailey
Source Link:
This is a downtuned seven-string metal remix of the track 'Triage At Dawn' from the Half-Life 2 OST. This tune plays just as Gordon leaves the haunting, dark location of Ravenholm and re-emerges into the cold light of City 17, where the Combine give him a lead-fueled welcome. It always hit me as a very powerful moment - after the constant tension of Ravenholm, the player get this very brief glimmer of hope and calmness accompanied by the source track to this remix, just to be thrown back into the thick of the civil war in the next second.I created a first version of this arrangement in 2015 and uploaded it to Youtube, but never sent it to OCRemix because the production quality was sub par. Last year, I decided to redo it completely and was lucky enough to get TheBitterRoost on board to lay down some drums, allowing me to do away with the sampler that I used in the original version. To finish things off, I included Artur Stawski (https://sonicsciencelab.com) for stem mastering.
Cheers,
BKM -
RebeccaETripp
Rebecca Tripp
http://www.crystalechosound.com/
ID: 48262
Game(s): Terranigma
Song Title: The Dandelion’s FlightSongs Remixed: Revival of Plants
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Remixer name : jmabate
Real name : abate jean marc
Email :
website : https://www.youtube.com/user/jmabate
userid : 35644Name of game(s) arranged : Mega Man X
Name of arrangement : Run for Hope
Name of individual song(s) arranged : Sigma Fortress 2
Composer : Setsuo Yamamoto
System : Super Nintendo
Original :Best regards
jmabate
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I can confirm the source use right off the bat. It's as described across both submission letters, and it's evident and apparent.
I didn't contribute to the previous submission, but I compared this attempt and the last to look at your adjustments. I sensed Security Hall better adapted tonally, less abrasiveness on the saw synths at 1:34, and the new Emerald Hill ending working well with both the Meteor Herd backing and allowing the saw synths to adapt to their chord structures. I just missed the cool pitch-bend down from the initial sub, but the rest of the change-ups work well to secure the tail end nevertheless.
The rest of the track is no slouch, either. The sound design is fun, tightly secure, and has various tones throughout to keep us guessing at every step of the way. And the arrangement, even though it's in a medley format, has a significant number of places where parts of other sources (namely Day 3 and Meteor Herd itself) would interact with others - such a creative technique that otherwise gets overlooked.
I'm in favor of the track getting posted in this form as well - excellent work!
YES -
Remixer (and real) name - Michael Hudak
Game arranged - TLoZ: Breath of the Wild
Song arranged - "Riding (Day)"
Arrangement title - "Run"
Link to original -The riding music in BotW is genius, I think. It's a perfect musical blend of organic and mechanical elements (which obviously compliments the game's story); you have a very human piano playing a part that sounds like a transcribed version of sample-and-hold retro computer/patch bay music. I wanted to take that idea further and create something that was obviously computer music, but made from scraped together pieces of very organic, earthy sounds. Salvage art, maybe. Field recordings for Hyrule Field?I took the root/5th/octave left hand chords in the original song, played them sustained with Spitfire's Soft Piano with slight reverb, then clipped only the tail ends of the data. I lined them up on the grid (without fading into the envelopes to keep those pleasant little pops) to act as a foundation loop. I took the super fast flutter notes, listened to them 30 times slowed down to make sure they were right, then lined them up in the same way on top of the bass chords. All of those quick runs from the first 35 seconds of the original are used in my track. The original also has a syncopation where most of the time there's only one note played at once, but of course there's a great harmonic richness to everything when there are multiple layers playing at once.That richness was exaggerated even more when I boosted everything by 20-30 db, which pulls up the undertones. This also drags out the white noise of the sampling room of...whoever at Spitfire made these samples. This gives everything a dusty, nostalgic vibe (rather than just use vinyl noise plugins yet again), and I could also use this higher frequency information about halfway through my song to act as a kind of amp distortion, or even have them act almost as cymbals. Actual paino-y piano shows up for a solo, (with a tiny bit of Zelda's theme, taken from the source), then some birds. Hyrule Field recordings? Some reference tracks I used for this were "Take Time" by The Books, and "Siisx" by Ryuichi Sakamoto + Alva Noto.I have to say that this is one of my favorite songs I've ever made. I would've never guessed that it would evolved to what I did from the tiny loop I started with. Mastering it took literal days, though. There's not a lot of stuff over 3k, and so the process of getting this thing somewhat loud without major mixing compromises (in the low mids, especially), was laborious. It's still on the quiet side, but at this point I'm just as proud of how loud I was able to actually get it - while keeping the dynamic qualities - as the arrangement itself. Anyhow, thanks, as always, for the judges for their valuable time. -
Contact Information
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- TheBitterRoost
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Your real name - https://www.youtube.com/user/armageddacrab1
- userid: 32609
Submission Information
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- Valkyrie Profile
- Luminescent Sorcery Harpsichords
- Illuminating Magic Links
- composer: Motoi Sakuraba, system: PSX
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Link to the original soundtrack:
- Mix comments: All live drums and guitars, but letting the non-stop harpsichord and organ keep center stage. I felt like this tune had a power metal feel to it from the get-go, so I leaned into it, saving room for a small dip into some acoustic guitars.
- From the Pixel Mixers Valkyrie Profile tribute album, “Nibelung Valesti” (disc 1, track 13)
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Producer name: SpaceGhostReal name: Deion W.Email:User#: 36070Submission info:Game: UndertaleArrangement: The King of All MonstersSong name: AsgoreOriginal composer: Toby FoxOriginal song link:
Comments: I just really feel like this is a great song that everyone who ever played undertale. I wanted to make it into a track you can dance to, while still keeping the original feel.I hope you guys enjoy and add it to your site, I been a long time fan for over 10 years. I been making video game music for just as long and finally decided to submit something.Thanks for you time,Deion -
Remixer name : jmabate
Real name : abate jean marc
Email :
website : https://www.youtube.com/user/jmabate
userid : 35644Name of game(s) arranged : Sword of Vermilion
Name of arrangement : Fight for Excalabria
Name of individual song(s) arranged : Statts ; Last City ; Dungeon ; Title
Composer : Hiroshi Kawaguchi
System : Sega Megadrive
Original :
Guest : last guita solo by Capt’n ShredBest regards
jmabate
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Hello, I'm JulienMulard (waiting to be changed to Julien Mulard on the forum), userid 32622, and I would like to submit my track "Hacking the JANUS System" to be posted on OCRemix.This mix is a rearrangement of the 6th dungeon theme (Face Shrine) from "The Legend of Zelda - Link's Awakening", going through different styles of music along the way, atmospheric, metal and trance.I love hybrid styles of music, and wanted to achieve a good synthwave/electronic music/metal track for a long time now. At first, the track was not even supposed to have guitar sounds, just heavily distorted synths. I finally changed my mind thanks to Timaeus on the WIP forum, and it made the track even better
I'm also very proud of the mixing/mastering, as it has always been what I struggled with the most.
I was primarly inspired by artists such as The Algorithm, MasterBootRecord, Igorrr, or even Infected Mushroom, but I think I managed to find my own sound. In some more obscure ways, there's also inspirations from Rush and Savant, but those are more Easter Eggs of sorts.Regarding Easter Eggs, I hid 5 in the specter of the track. Now, I know judges are busy people so you'll find attached to this email a document detailling were they are, what they mean, and why there here. You can also look for them yourself, but no pressure at all ^^ You'll just need a adjustable spectrogram analyser, a binary/text converter, a Morse code alphabet, and some good eyes... Link to the Easter Eggs guideStory wise, it's kind of a crossover between the story of the game and The Matrix. Link is a hacker trying to find answers by logging into the highly protected JANUS System (Janus is a two faced god from the Roman pantheon. From Wikipedia, he's " is the god of beginnings, gates, transitions, time, duality, doorways, passages, and endings", which I found higly fitting given the dungeon is the Face Shrine, the boss is a Face, and it's the turning point in the in game story, where you learn about what will really happen if you choose to wake up the Wind Fish). Link managed to enter the system, have to face different type of security, and finally manage to break free from the simulation he was in, but with untold consequences.If it's possible, in case of publication, to have a spectrogram effect on the youtube video so that people can easily see all the stuff I hid, I'd love it. I imagine it's some extra work, so don't worry about it too much. I can always upload it on my own YT channel later (plus I'll be able to select the right setting to have everything clearly visible). Plus I imagine it could create a precedent about custom videos. But hey, it's free to ask ^^I hope you'll like it as much as I enjoyed creating this track. In case of rejection, you can let all the links in the Judge Decision forum.I wish you well in these troubled times!Sincerly,--Julien MULARD -
Arrangement-wise, it doesn't re-invent the wheel - two run-throughs with modifications when necessary. The first one went through the source straight, and the second one replaced the entire A section with a rad organ solo. And there are textural modifications in the background, too. The first repetition had the A section's melody with harmonies in fifths; the brass and vocals provided more countermelody and padding support beyond the simple strings in the original; and those textures are unique between both B section run-through. It would've been nice to have heard some more extensive treatment to the bass as well since that is one of the driving elements in the source - but with the amount of detail in there, I'll be okay with it taking more of a backseat.
It shines more in its presentation - outstanding balance, no instruments sticking out, and the brass has some great humanization going on. I'm not too worried about the organ solo's position, as there's a good handful of times where it'll hit a notation on the 8th triplet note immediately before the next bar and overlap it - a cool syncopation technique. However, I do think the bass echo in the B section could've had a more distinctive EQ rather than just being made quieter and panned hard-right just like in the source - something to prevent any tonal overlap between that and the central bass.
I feel the presentation is easily over the bar in the bigger picture, but the arrangement barely made the jump. I can see this track being a considerable debate among the rest of the panel - but whatever happens, Vannick, I see great potential with you. Good luck!
YES (borderline) -
I wouldn't call the arrangement "straightforward" by a long shot. What you did was adapt the airship theme into a minor scale, then transposed both sources to the same key and worked with them that way. Your way of arranging is clear and distinct - breaking down the sources by sections, restructuring them to fit your vision, and using different performance techniques for further distinction. I consider that to be your trademark approach at this point - an expected one, sure, but not baby steps in the slightest.
It's a good presentation, too, with a lush piano tone and render on par with previous works. The performance is as passionate as I expect from you, but the 1:05 transition could've been much smoother going into it, and I'm unsure why you needed five bars to go through it when four would've been more than enough. However, I do concur with pumping feeling tighter than I thought, but I don't feel it's enough to sink the performance underneath. Though, it would be advisable to weaken your compressor's settings for future works.
It's still lovely stuff fit for the front page, Guillaume - a vibrant performance that weaves two unalike sources together and presents it in a well-rendered package. Bien joué!
YES -
It's a simplistic take - two variations with the electric violin solo between them, and going back to the intro and A section for a sudden ending. But there are indeed some subtle variations to keep things refreshing. Firstly, credit to Max for the bass riffs in each intro use (0:00-0:28, 1:13-1:26, 2:23-2:36) being completely different. Secondly, both theme variations had completely separate leads, and the rhythm guitars handled their roles differently - sustained strums in the first, and more concentrated and muted ones in the second. The only elements that kept more of a stagnant role were the bass's use outside the intro and your drum groove outside of all of the different fills, and those are needed to support all the different parts riding on top. It's not a detailed interpretation, but this setup didn't need it.
It's a good presentation too. All performers are on point with clean recordings and accurate performances as well. The balance is tight and has very few stick-outs, though I would've preferred a small mid-high cut on your mellow lead (0:59-1:13) not to make it pierce as much. Some further clarity between your brass and rhythm guitars would've also been nice to have, but that's more of a nitpick.
Nevertheless, it's a pleasant and coherently produced no-brainer submission with enough textural variations to keep it afloat. And by listening to the track, it's also made me realize how far you've progressed creatively since your first ever Dwelling of Duels submission 16 years ago - very astounding. Aside from other guest appearances, I hope the next track you send won't take another 16!
YES -
Name: Michael HudakReMix name: SEGA Space Station Big Dome, 2094Games arranged: The same ones as before, plus Sonic the Hedgehog 2. Sonic Adventure 2 is still the primary game.Michael Hudak here, resubmitting my Sega jam. The original email was loooong, so it might be best to just look at the old forum post for time stamps, for sanity's sake. Judges hated the "I'm a Spy" lick at 0:47 because it was horrendously dissonant (i.e., bad), and I also toned down the synth stacks a bit at 1:34. I think I was mixing this song and also working on another project at the same time that was essentially walls of distorted white noise, and so I thought, somehow, those things sounded good at the time.I also changed the synths at 4:41...in the middle of where I added a new ending! "I'm a Spy" doesn't appear a second time anymore; now the final minute features "Emerald Hill Zone" from Sonic 2 starting at 4:09. It's a long section, but I continued using the "Space Trip Steps" elements throughout - pizzi violins, the the Dr. Dre sine - and so I still consider this to be a SA2 remix. That sine was tough to mix though...it really cuts through on ear buds, but is almost lost with some other listening devices...for once I decided to air on the side of caution with high frequencies and leave it lower in the mix, for the ending at least. Song ends with the "SEGA" signature tune.Overall I'm very pleased with how this turned out. One last thing to mention that I didn't before is that this arrangement was partially inspired by an old OCR jam by Protricity called Savage Seduction, which I listened to who knows how many times throughout high school!
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The structure here is simple and effective - two repetitions, with the intro, bridge and outro sharing the same general idea. That idea is taking the chord pattern in the source's first two bars, applying the rhythms to the acoustic guitar, then overlaying other instruments with an I-vi-ii-V chord pattern across 8 bars. Not many slow-burn intros reference the BGM to such a degree, so it's very welcome in my book. Both theme variations itself went through straight but had changeups on how the accordion and flute carried the A section's melody - the first one having the flute join in part-way over the top, and the second one having both instruments take turns in carrying the lead. So to the casual ear, enough is going on to keep things engaging.
However, I keep mentioning autopilot as a common criticism in your work - and I sensed the cello ran through the same pattern in the intro, bridge and outro, and sticking to the same countermelody in both theme variations. This same sentiment also applies to your other backing instruments, but they're carrying the track's meat and potatoes and aren't as bothersome. It feels odd - Eric's cello performance is clean and expressive otherwise, so this usage and lack thereof feels like a thing of personal taste.
The mixdown and balance are nice and clean, and Greg and Eric pulled through with some lush sounding recordings to compliment your own. But the master is on the quiet side - it hardly ever goes above -4dB. Thankfully, the arrangement's nature doesn't warrant too much power, but it should be something to keep an eye on with future works.
As it is, it's an understated mix that does its job - a laid-back and comfortable arrangement with an equally friendly instrument setup. There's something about this whole package that makes me want to emphasize with the Slowpoke in the well and what they went through - and that's a good thing. Great stuff, Reuben!
YES -
Thanks for the source breakdown, Michael. The notation checks out, and with over 65% BGM space accounted for, integration is a non-issue. From the day version, I heard the A and B sections with unique writing flourish variations between uses, the first five seconds of the night version made eight times slower (!) at 1:38, and all incorporations of Mt. Moon used straight. I also find it cool that you placed all the sources on an entirely different minor scale - 4 tones up for Malie and 2 for Mt. Moon. And yet, they naturally adapted to your writing approach, where even the original writing kept that fusion between minimalism and Eastern inspirations.
The sound palette is an interesting one. The balance is tight with no parts sticking out, but a lot of that is down to the restricted instrumentation. It makes sense as you set out to emulate YMO's style, keeping the palette to bass, percussion/SFX, melody, and occasionally a secondary melody. So while I can understand Brad's concern about wanting another instrument to fill out the roster, it's not needed if it is intentional. I would, however, recommend you to look out for your kick writing. It feels uncanny hearing them act as a complement to the snare rather than an underlying rhythm that typically starts a groove at the beginning of a bar. It's more of an annoyance than a dealbreaker, so consider it as something to keep an eye on for future projects.
All in all, it's a more accessible presentation than what I usually hear from you, and yet it still has its quirky moments on the arrangement and palette sides. The way you're educating *us* in more unknown composers and styles feels refreshing, and so it makes me feel any of your projects from this point on can still be unpredictable (in a positive way). Solid stuff!
YES -
There's nothing wrong with a two-textural-variation route, and I can see that with the full-on doom metal vibes (bad pun!) for the first one and a cute non-overdrive breakdown at 1:32 marking the start of the second. However, aside from the textural shaping on the rhythm guitars, the notation is note-for-note, even with the pads doing the same thing. To shake off similarities between leads, try and play the melody with some minor differences, like adding other notes, articulations, and any original lick replacing a written sustained note over 2 bars. Some methods off the top of my head to change up the pads are to let them play a chord inversion lower or higher, apply a rhythmic gate, or keep the part as it is but put an arpeggiator over the top. Experiment and see what happens.
The production aspect feels okay but can do with some improvements. Firstly, the guitar tone itself feels thin and lacks brightness, so it's worth experimenting with the EQ and seeing if you can get a thicker sound. Secondly, yes, the choir pad can benefit from changeups, as Kris pointed out - but I also think the sound isn't as thick as a choir would usually have, so consider doubling it up with another pad and putting them on separate sides of the stereo field. And most importantly, I co-sign with Kris and Joel regarding the lead guitar texture. When hearing some samples from your Doom EP, the lead's off-pitch timbre was a significant issue that sunk the experience. The tone is a few cents higher than it should be and becomes more apparent when going through the B sections (1:03, 2:31). It is by far the biggest dealbreaker and is worth looking into during your next project.
There are some good ideas there, Lauri - but it's not interpretive enough in its current form, and the lead guitar and pads need thickening up. But most importantly, the lead guitar's tuning is a glaring fault that needs addressing before you even think of writing something else. It's a lot to take in, but I only want the best from you, and I hope you keep going with your craft.
NO -
If the track passes, we'll need to get in touch with Jean-Marc for both a new title and the removal of the in-game voice clips.
-RexyRemixer name : jmabate
Real name : abate jean marc
Email :
website : https://www.youtube.com/user/jmabate
userid : 35644
Name of game(s) arranged : Valkyrie Profile
Name of arrangement : Take a Flight cover
Name of individual song(s) arranged : Take a Flight
Composer : Motoi Sakuraba
System : Sony Playstation
Original :Guest : Psamathes - Vocals
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Hi!My remixer name: Lifestream OrchestraReal name: Andreas GrimellEmail:user id: 36716Game: Final fantasy VIIName of arrangement: Welcome to Avalanche, CloudName of the song: Bombing missionAdditional information: Released on the PSX 1997 and composed by Nobuo UematsuOriginal soundtrack:
comments about the mix: I've arranged and recorded this as if it where a modern metal song with real drums (Alex Rüdinger) and bass guitar (Johannes Olsson), guitar (myself) ect. The mix has been done by André Alvinzi of Faschination Street (the same studio that has mixed Opeth, Katatonia, Soilwork ect). -
Remixers: Ivan Hakštok, Sixto SoundsGames arranged: Final Fantasy 5, Final Fantasy 6, Final Fantasy 7Name of arrangement: Let The Decisive Battle On The Big Bridge Begin!Names of songs arranged: Clash On The Big Bridge (FF5), Decisive Battle (FF6), Let The Battles Begin (FF7)This song was an entry for the April 2020 Free Month on Dwelling of Duels where it placed 4th among some pretty tough competition.After getting stuck for way too long on the pull-up minigame in the FF7 remake and hearing Let The Battles Begin over and over and finally beating it at like 1am, this arrangement came to me in a dream, so as soon as I woke up in the morning I recorded a rough sketch of the first 2 and a half minutes before I went to work. During the next few days I recorded the rest of my stuff and recruited Sixto to do the Decisive Battle leads and the guitar solo at 3:07.I think the sources are well known and easy to spot, also there's lot of intermingling going on, so I'm gonna give just a rough source breakdown:0:00 - 0:51 = intro based on several section from the FF7 and FF5 sources0:52 - 1:27 = FF5 with a few bars of FF7 in the middle and at the end1:28 - 2:36 = FF7 + FF6 going into straightforward FF6, closing it with FF7 again2:37 - 3:06 = my guitar solo, background is FF73:07 - 3:46 = Sixto's guitar solo, background is FF7 going into FF5 intro chords with some FF7 phrases3:47 - 3:59 = based on FF74:00 - 4:14 = FF5 into FF7 with some guitar wanking on top
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RebeccaETripp
Rebecca Tripp
http://www.crystalechosound.com/
ID: 48262
Game(s): Final Fantasy Adventure aka Seiken Densetsu
Song Title: Forgotten PalaceSongs Remixed: Mana Palace -
Remixer Name: Paper Coelacanth
Email:
Game Arranged: Final Fantasy 9
Name of Arrangement: Amarant's Night Ride
Original Song: Amarant's Theme (or Salamander's Theme)
This song was one of my contributions to Pixel Mixers' Final Fantasy IX tribute album, Beyond the Mist. This was my first attempt at an 80's Synthwave style remix, which was a fun change of pace!
Very much recommend checking out the rest of the album as well; lots of great people poured their hearts into it! -
The source use was obvious for me on first listen, and remains so as I vote. The notation here relied on chord progressions of the pads and synth chords in the source, at the following timestamps:
0:56-1:28 (arr.) - 2:38-2:53 in source (pads)
1:28-2:00 (arr.) - 3:07-3:49 (polysynths)
2:06-3:11 (arr.) - 3:07-3:49 (polysynths)
3:30-4:48 (arr.) - 3:07-3:49 (polysynths)As Michael outlined, nothing got used from the first two and a half minutes, and everything beyond 3:49 was the polysynth pattern with other instruments over the top. Nevertheless, these findings bring the quota up over 65% source use handily - therefore making this a non-issue.
With source use identified, I find it interesting that Michael stripped so much of the rhythms away, but kept the chords in place while he let the glitched piano move through it. I'm aware of the idea of subtractive arranging (i.e., keeping the source in place but adding different textures over the top), but to keep the BGM in place and remove things puts an enlightening spin on an otherwise energetic composition.
Just like with "Bright Moon" before it, the instrument palette is primarily piano and glitch effects, but now with the addition of an old voice recording (and a very enchanting one at that). The mixdown is also very clean, and neither the piano nor SFX dominates each other when the glitching is prominent. And then there are the moments with the more extended piano notes (0:56, 2:38), allowing for an underlying use of white noise and the vintage recording to compliment the sparser landscape. The only thing that I would've liked to have seen changed, based on the chord voicings, is the piano tone for something slightly brighter - but that's no major rough patch in this case.
Overall, this is another textbook example of Michael pushing through boundaries and creating some more unique experiences for the site. Cap it with a more stripped-down source interpretation, and I can see it being a significant discussion point upon posting. Let's go!
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The Dwelling of Duels is an anonymous competition, so it's best that you don't mention what you're arranging outright. Just participate through the DoD as normal, and then when the competition is over, you're more than welcome to submit to OCR's inbox.