Rexy

I was able to hear the crackling on headphones, and while I am a YES vote even with the crackling, I have to agree it was distracting.  I couldn't hear it on my speakers, but for sure on headphones, so I agree with Larry that it wasn't ideal.  So, I asked Will if he'd be willing to change it, and he did.  Will made some changes to his vinylizer plugin, and altered something in the final chorus so it would sound less shrill.  He also wanted me to note the fact that Larry smells.
I may as well let this be my vote, the track sounds awesome to me, so
YES

@Chimpazilla You were right! Parker was able to get this resubmitted within an hour of reading the decision and it addresses my only beef (pun intended) with the first submission. So glad this didn't end up lingering in rejection purgatory over that.
THERE'S THE BEEF!

First of all, thank you very much for the source breakdown! Going over the sections, I can verify its treatment with plenty of subtractive writing - and the saxophone/guitar solos and synthwave style placed the icing on the cake.

I honestly have no significant problems with the production, either. The sounds are all appropriate to the genre, the live musicians all sound crisp and clean, and everything feels well balanced. I honestly think the vocals are at a good position in the mix and are clear enough for me to make out the lyrics. The only thing that sticks out is that the mixdown doesn't go beyond -3dB and can sound better with some normalization, but it's no dealbreaker in this case.

It's still a fantastic Jorito production / collaborative project as always. Not only can I see this on the front page, but also as part of a playlist for use at the gym.

YES

It's great to hear that you feel inspired by submitting here!  Alas, while the outcome is now a foregone conclusion, I hope you don't feel discouraged from a potential resub or sending new music our way - because there is shining motivation from your work method here.
While you do have a lot of the source's writing, there are enough modifications to make it your own.  The intro's chord sequence got cut in half and then doubled, rather than going for the full 16-measure stretch.  All counter-melodies are gone when bringing in the B section over two different synths.  The bass pattern for the C section at 1:09 feels jumpier than the original; the melody personalization at 1:23 is an excellent twist on the familiar piano intro; then you've got 2:19 referencing fragments of the C section with the melody personalization.  It's a conservative structure, as you allowed for a run-through of the theme, a return to the C section, and an ease-out ending - but there is enough to make it work on a writing level.
However, I do have more problems with the production side.  Credit where credit is due, first - a good number of your synths have some nice built-in effects, like arpeggiators, sustains, and the occasional pitch bend.  You've made a start with picking out those timbres, but a lot of them would keep that same texture and momentum for most of the track.  Have you thought of adding some modulation or setting parameters from inside FLEX as envelopes to change the synth tones on the fly?  Both approaches could get used to significant effect and throw in some more excitement into the mix.
And then we have the layering aspect as well.  Wes already touched upon how you've hardly doubled up any of the synths and especially brought up how the chime at 1:14 sounds so devoid of tone on the higher notes - so feel free to experiment with your gear and see how different instances sound together.  I'd also suggest doing the same thing with your drums, as they feel flat and exposed during the breakdowns (1:09 being a glaring example).  Some more electronic sounding tones or even some claps could add more power on the high end for your snares.  You can also achieve a similar idea on the hi-hats - but if you feel it won't quite work, a simple re-EQ can work to make them sound less buried in the mid-range.
Again, hang in there!  You've made a good start on your own with the core personalization and sound design.  For me, it boils down to me wanting to hear a production/presentation overhaul, particularly with how you shape your synths over time and wanting to see more texture on your percussion.  Whatever you decide to do going forward, I hope you've learned some new tricks for that next big step.  Keep at it, René.

NO

@begoma I've been in contact with Brandon and we hope to put things behind us, make this the best album possible, and release something both OCR & he will be proud of - given that it's the third leg of a trilogy he started, I thought we should at least try to make this happen, and @Rexy has been helping make that possible. Right now mithius is working on some epic material that I know will elevate the final result - I still hope to release this year, and we'll be discussing timeline soon.
So, short version: Not dead, trying to work with Brandon to make something happen, stay tuned.

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

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

Hey, glad to hear you've been re-inspired! And I promise we collectively will be more considerate than at your last sub.

I feel your confidence in the source's presentation, handled so that no section repeats ideas aside from the bookends, making the scope significantly ambitious. You've got:
Bars 3 and 4 of melody B getting brought into half-time on the piano at 0:29 and 5:49 Using melody A as a repeating arpeggio pattern throughout with the core component from 1:08 and its last bar from 1:45 Use of melody B's defining hook at 2:29 both for the high energy segment and into the piano wind-down not long after 3:15 having the first bar of melody B getting used on an arp And culminating at 3:43 with the transformation of the source's riffs onto an original 4-bar chord pattern, which sticks as the core idea for the following two minutes with textural variations. You've brought the energy up and down at appropriate places to maintain momentum as well, so it's mostly a solid concept you've got down. However, one part of your writing that you really should watch out for is how delayed your backing guitar is. I heard it at 0:09, and again at 3:19 - it sounds like it's lagging a fraction of a beat behind. If that wasn't intentional, it should be no problem to check out the stem and sync it back in.

The production aspect isn't too bad here. The synths chosen have more of a vanilla quality, with rarely any articulations or expressions involved on individual notes. But the EQ sweeps / slow envelope movements more than compromise it - with the pitch-bend ending taking me by surprise. But I feel too much emphasis on your pads and harmonies for your mixdown that they're cluttering up the low-mids and not letting the kick and snare cut through. My suggestion is to try making cuts around the tonal frequency for where your kicks and snare are and apply them onto your pads and low-mid rhythm parts, seeing if they get more room.

Similarly, you've also got them bleeding into the melodies as well when they hit a similar tonal sequence - 4:29 being a clear-cut example of this. There are ways to prevent bleeding from two separate groups like this. My suggestions include either transposing one of the groups to a different octave, modifying their EQ separately to get the part you want de-emphasizing held back, bringing the volume up for the leads and down for the backing section, or a combination of the three.

I like your ambitious approach to a source with so little to utilize, and you've come a long way since you've last submitted. But right now, the mixdown needs to get another pass to ease off on the low-mid congestion, and your backing guitar needs its timing fixed. The latter part should be an easy remedy, and the former point is crucial if I am to sign off on this. Keep at it, Tobias!

NO (resubmit)

Wow, this is different! I mean, I've been listening to the original version of the track since the album release back in 2013 (!), so you can imagine how much I'm used to it  And listening to this one just messes up with my brain so much, haha. But I can't say the changes are for the worse here! In fact, I really love some of them quite a lot. The strings sound more clear, you've got a much more varied beat, and damn, that "swoosh" sound effects... I can't help but smile  All in all, very solid work!

Big ups to Rexy.  

Much Love Rexy!
This song has grown a lot since it's original release, and its still a banger! <3

Oh myyyyy!  @Wiesty, your physical component came in the mail!
 

 
What a colorful Aku Aku polyester shirt!  This is something I'd definitely flaunt during the Summer; thank you soooo much!
 

Once again, thank you for providing source breakdowns, Timaeus!  I find them so enjoyable to follow them along to the music and see how you shaped up the arrangement.  It all handily checks out - evident source clarity, motifs on top of other motifs, grace notes aplenty, adaptations to different chord sequences, and a tight framework that knows when to anticipate which stretch of a source at which possible time.  It's great stuff all around, and I can't expect anything less.
I like your sound palette too.  Keeping the Radical Dreamers backing to bells and e-piano adds a dreamy feel to it, as do every other rhythm and melody part other than one specific lead synth going legato-free.  Yes, it can get busy and overwhelming to the point that I would've preferred some backing drop-outs.  It's nothing too serious overall, though - it's still clean, reverb is used tastefully without clashing instruments together, and all parts have lovely articulations to them.
All in all, it's solid stuff all around - and proof that you're capable of working with whatever tools are available and bringing out their best qualities.  It's an inspiring track for anyone who wants to get started in arranging, but don't necessarily have the budget to invest in much from the get-go.  Great job!

YES

When I listened to the "Pokémon source" that timaeus attached to the sub, I realized very quickly that it's one of SiIvagunner's high quality rips - remaking the theme to Chrono Trigger with the soundbank for Explorers of Time / Darkness / Sky.  I don't know how it happened as the CT theme is a popular source, but there you go.  The submission text is completely unedited, though - and I'll attach the meme to the end of the post.
-Rexy-

Contact Information
Username: timaeus222
Name: Truong-Son Nguyen

http://soundcloud.com/timaeus222
http://tproductions.comeze.com/
ID: 24526

Submission Information
Games: Chrono Cross, Pokémon Mystery Dungeon 2
ReMix Title: Serenity & Grace
Consoles/Platforms: PlayStation (CC) / Nintendo DS (PMD2)
OST Composers: Yasunori Mitsuda (CC), [Arata Iiyoshi, Hideki Sakamoto, Keisuke Ito, Ryoma Nakamura, Kenichi Saito] (PMD2)
Sources: Pokemon Exploration Team Theme (PMD2), Radical Dreamers (CC), Scars of Time (CC)
  Comments: "Right around the time I was asked to evaluate the Chrono Cross album that was in the works (around March 2018 or so), I heard the title track of the album and felt inspired to write this ReMix here over the summer.

This combines 'Radical Dreamers' (CC) with a bit of 'Scars of Time' (CC) and the 'Pokemon Exploration Team Theme' (PMD2). The latter two shared surprisingly similar melodies. Also, some zircon/Jillian Aversa fans might notice a little easter egg I threw in that references a certain song from 'Unearthed' that sounds very similar to a 'Radical Dreamers' motif.

Lastly, this is something that I wrote entirely with what I'd call 'budget' sounds (no sample libraries, nothing pulling from massive external storage). The bulk of the instruments used are just drum samples, u-he Zebra2 patches (plus some Xfer Records Serum), and 4Front TruePianos. This encouraged me to focus on cooperation between harmony and melody, and just trying to make the melodic phrasing and chord choices completely intentional. Yup, for me this time, production was secondary to arrangement!

- Truong-Son"

Extra Info:

Source Breakdown:
0:00.0 - 0:05.3, 0:07.0 - 0:12.2 = Radical Dreamers (0:00.0 - 0:26.4)
0:13.9 - 0:19.2, 0:20.9 - 0:27.9 = Radical Dreamers (0:00.0 - 0:26.4)
0:27.9 - 0:52.9 = Radical Dreamers (0:26.4 - 1:19.1)
1:09.6 - 1:17.4 = Radical Dreamers (1:19.1 - 1:44.5)
1:23.5 - 1:37.4 = Radical Dreamers (1:19.1 - 1:44.5) layered on (0:00.0 - 0:26.4)
1:37.4 - 1:42.7, 1:44.4 - 1:50.5 = Original Melody + Radical Dreamers (0:00.0 - 0:26.4)
1:51.4 - 2:04.8 = Scars of Time (1:32.6 - 2:07.2) layered on Radical Dreamers (0:00.0 - 0:26.4)
2:05.3 - 2:15.7 = Pokemon Exploration Team Theme (1:13.6 - 1:40.4)
2:19.2 - 2:32.0, 2:33.1 - 2:40.0 = Pokemon Exploration Team Theme (1:40.4 - 1:54.2)
2:47.0 - 3:12.6 = Radical Dreamers (0:26.4 - 1:19.1) [new key?! Psych!]
3:28.7 - 3:36.6 = Radical Dreamers (1:19.1 - 1:44.5)
3:42.7 - 3:56.6 = Radical Dreamers (1:19.1 - 1:44.5) layered on (0:00.0 - 0:26.4)
3:56.6 - 4:01.8, 4:03.6 - 4:15.4 = Radical Dreamers (0:00.0 - 0:26.4)

5.3 + 5.2 + 5.3 + 7.0 + 25.0 + 7.8 + 13.9 + 5.3 + 6.1 + 13.4 + 10.4 + 12.8 + 6.9 + 25.6 + 7.9 + 13.9 + 5.2 + 11.8
= 188.8 secs
188.8/256.6 = 73.6% source overall

Scars of Time (SoT):
13.4/256.6 = 5.22% SoT

Pokemon Exploration Team Theme (PETT):
30.1/256.6 = 11.7% PETT

Radical Dreamers (RD):
73.6% - 5.22% - 11.7% = 56.7% RD
 
The meme:

Hi again! Despite how empty this thread looks, I've gotten so many great responses from you guys! I just wanted to reach out to say thanks to everyone who has participated! It has been super helpful and I look forward to sharing some progress in the near future, either here or a new thread.

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

Did this years ago and someone, who i still have no idea who it was, sent me a single pack of guitar strings...
However those strings were my first pack of Ernie Ball Cobalt strings which I use exclusively on my ESP now because they are absolutely amazing. So thanks anonymous benefactor because now they are the gift that I keep on giving... to myself. 
So what the hell i'll sign up again. 

i'd love to participate. these have always been fun.

This is beyond any levels of incredible, holy cow! I just LOVE this. I mean, I downloaded the track and then just listened to it 10 times in a row  The intro is a little long in my opinion, but when it hits, it hits soooo hard. I... I don't even know where to begin. First of all, I'm not familiar with the original, but I can absolutely clearly feel the cartoon-ish evil/crazy/mad vibe going on, and it's simply adorable! The arrangement is top-notch too - there's plenty of variety, never becomes boring for even a second. The diverse instrumentation is also worth mentioning, I guess. I've always been a huge fan of drums/percussion in Rexy's stuff, and this remix is no less amazing in that regard - especially the breakbit at 4:25, that was really nice! And oh my, there's so many various leads - chips, piano, bells, all kinds of synths, wow! And there's even some guitar here and there... This is pure win. Definitely one of the best remixes of 2020!

The groove here is so GOOD. I loved this one in its WIP stages and the final product is even stronger There's really so much going on here, you never hang on one idea for too long and never seem to run out of new directions to take the arrangement, either! Rock solid stuff, Bev!

I hate to double-post myself, but there is some big news regarding album development.

This album trilogy has had a history of collaborating with the Dwelling of Duels, and so, September 2020 is the OC ReMix Crossover FF3 Month!  If you main a live instrument, go check it out - if you take part and you decide to send it to OCR's submissions queue, the evaluation will get fast-tracked.  Any track from the game can be chosen, though there are still some uncovered spots on the OST (including some not even listed in the OP) that would be nice to have some representation.

Talking of which - during this past month, @bluelighterhas made claims on not one, but two tracks!  He has finished his take on "Crystal Tower" (with added usage for Tower of Owen), and is wrapping up an arrangement of "Ancient's Village" at this current moment.  I am delighted to have a talented classical-inspired arranger jump in!

If you're a potentially interested arranger, you're more than welcome to send a PM to me here on the forums or in the OCR Discord if you'd like to make a claim yourself outside of the DoD event.  I wish all participants there the best of luck, and hype for some great tunes! x)

It's been almost 11 years.  And I still listen to Reuben Kee's "Once Upon a Lifestream".
 
This loss is immeasurable.  What Reuben did in his lifetime was already extraordinary--if he had survived this event, I have no doubt he would have become a name that would have lived throughout centuries.
 
Rest in peace, Reuben Kee.  You were magnificent.  And as long as I live, I will continue to share your magnificence.

Synthwave and journey to silius?
Do you read my diary?
I dig it.  It's not super expansive but imo the original is so good you don't really need to do a lot with it.  This remix relies a lot on arpeggios and filter automation to keep things moving and varied.  My main issue with this one is that it feels pretty static throughout.  I was hoping for a break but I don't feel like I ever got one, and that caused the buildup around 3:10 to have less impact for me.  I feel like the vocaloid is not meshing that well with the rest of the mix, feels like it's on top of everything else yet outside of the mix.  It's probably a bit too exposed and needed a bit more work to make it feel part of the mix as a whole.
Besides these gripes, production and arrangement are solid.  This is a solid mix.
YES

I hate to double-post myself, but there is some big news regarding album development.

This album trilogy has had a history of collaborating with the Dwelling of Duels, and so, September 2020 is the OC ReMix Crossover FF3 Month!  If you main a live instrument, go check it out - if you take part and you decide to send it to OCR's submissions queue, the evaluation will get fast-tracked.  Any track from the game can be chosen, though there are still some uncovered spots on the OST (including some not even listed in the OP) that would be nice to have some representation.

Talking of which - during this past month, @bluelighterhas made claims on not one, but two tracks!  He has finished his take on "Crystal Tower" (with added usage for Tower of Owen), and is wrapping up an arrangement of "Ancient's Village" at this current moment.  I am delighted to have a talented classical-inspired arranger jump in!

If you're a potentially interested arranger, you're more than welcome to send a PM to me here on the forums or in the OCR Discord if you'd like to make a claim yourself outside of the DoD event.  I wish all participants there the best of luck, and hype for some great tunes! x)

I hate to double-post myself, but there is some big news regarding album development.

This album trilogy has had a history of collaborating with the Dwelling of Duels, and so, September 2020 is the OC ReMix Crossover FF3 Month!  If you main a live instrument, go check it out - if you take part and you decide to send it to OCR's submissions queue, the evaluation will get fast-tracked.  Any track from the game can be chosen, though there are still some uncovered spots on the OST (including some not even listed in the OP) that would be nice to have some representation.

Talking of which - during this past month, @bluelighterhas made claims on not one, but two tracks!  He has finished his take on "Crystal Tower" (with added usage for Tower of Owen), and is wrapping up an arrangement of "Ancient's Village" at this current moment.  I am delighted to have a talented classical-inspired arranger jump in!

If you're a potentially interested arranger, you're more than welcome to send a PM to me here on the forums or in the OCR Discord if you'd like to make a claim yourself outside of the DoD event.  I wish all participants there the best of luck, and hype for some great tunes! x)