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I actually found this tamer than Sam's other works, and found the voice samples implemented much better than his original piece, Unrelenting Torchmonger. The piano gives the song a smoother texture, something which I enjoy very much so. Percussion work is excellent, as well is the use of panning. I feel obligated to check out the original soundtrack; fun as always, and good work!

Nice to see something Irish folk stuff getting attention in the community, though in a different way to Dublin Delight. Bit short, but what it does it does well, and sounds like it'd fit right in with the upcoming storybook. Would've requested that the silence at the end be taken out, but whatever.

A two hour show? Lies!

Huzzah. I hope I can keep up to the standard that the rest of the project adheres to.

Not surprised that this jumped the queue. Definitely an intelligent remix that homages the original's atmosphere, while taking it off in new directions. Pity the rock section didn't take control of the mix's direction more, but that's a matter of personal taste. Great work.

Bummer... dude.

I actually take pride in my low post count. Case in point, I plan to resign from the panel on the day I hit 1000. Less posting, more judgeing, then. Wouldn't the judging inherently increase his postcount? I always assumed the judging panel, being a subforum, acted just like any other subforum but with posting privilages given out massively less frequently. But that allows him to devote more of those remaining posts to judging all those songs. On another note, moving this to site projects may be a good idea- else we'll have a 200 page thread full of encouragement junk.

Maybe that's why I can understand her? I can see a similarity..

Huzzah! McVaffe! The naysayers should listen to VG Frequency more.

Well, I tried my hand at Link.. Link NINTENDO 1986 Link is the recurring main character in Nintendo’s Legend of Zelda series, that is, there is no one single Link. Each hero of the games are from a line descended from the hero before them, possessing similar characteristics. Though the character can be named anything by the player at the start of the game, the manuals and other such booklets call him Link after the ‘link’ the player has between the hero of each game. The original Zelda in 1986 gave little detail as to the characteristics of Link, though outlined the appearance of the hero that has been followed throughout the series- a green tunic, dark hair (though this has changed recently for blonde), and his choice in weaponry, usually a sword and shield but extending to arrows, bombs and other magical items. His quest to save his homeland of Hyrule was to find the shards of the mythical Triforce, overthrow the pig like tyrant Ganon, and save the Princess Zelda from capture. Since the inception of the franchise, Link’s personality has often been one advocating courage and bravery. In several of the games, the hero obtains one of the parts of the Triforce, standing for courage. His age is always that of a young boy or man, backing up the theme of maturity that Shigeru Miyamoto, Zelda creator, has strived to present on screen. Like many other main characters in this style of games, Link rarely speaks, using facial expression to convey his feelings. Apart from the main Zelda series, Link has starred in spin offs and even other forms of media. The Legend of Zelda TV series in the late 80s portrayed a Link quite at odds with that of the games, an outspoken teenager who helped save Hyrule to win Zelda’s favour. The line “Well excuse me, Princess!” has become an infamous part of the Zelda franchise. His appearance in Super Smash Bros and its sequel allowed the player to get the edge over their opponent with various projectiles from his arsenal of items. Source: Link Wikipedia Page Games Link has appeared in: NES The Legend of Zelda (1986) Zelda II: The Adventure of Link (1987) GAME BOY The Legend of Zelda: Link’s Awakening (1993) The Legend of Zelda: Oracle of Ages (2001) The Legend of Zelda: Oracle of Seasons (2001) The Legend of Zelda: The Minish Cap (2004) SNES The Legend of Zelda: A Link to the Past (1991) NINTENDO 64 The Legend of Zelda: Ocarina of Time (1998) Super Smash Bros (1999) The Legend of Zelda: Majora’s Mask (2000) GAMECUBE Super Smash Bros Melee (2001) The Legend of Zelda: The Wind Waker (2003) Soul Calibur II (2003) The Legend of Zelda: Four Swords Adventures (2004)

Sounding like Simple Plan is a good thing? How old are you' date=' 13?[/quote'] I think we got your opinion 5 posts ago. There's no need to attack other people's tastes.

So is Harmony the angel that came from the sky, gave us three kickass mixes and left almost as quickly? So his forum profile would say..

Hmm, okay then. I just hope I'll be able to find it somewhere. Wouldn't figure it to be a rare game, so shouldn't be that hard..

I was thinking of getting Silent Hill 2 given its reputation. Are the games inter-related in any way, or are they seperate stories each time?

I can't argue with you. Such are the limitations of the 2 minute time limit. There are probably ways that such an intro could have been forced in, but as far as "script-adherence" goes, I still stand by my arrangement decisions with this one (mostly). As long as I'm explaining, I had imagined a lot of the emotional buildup being driven by the scene's pre-fight dialogue. Then the chorus/string buildup would come in just as Magus made it clear that he was about to kill himself some intrusive pre-teens (by lifting his scythe or whatever). Then the music moves straight into the battle. Halfway through, the intensity drops as a resounding BOOM alerts everyone to Lavos's awakening. Then the panicky music at the end plays as everyone tries to escape the huge vortex. Again, things could definitely have been reworked. If I were to do it all over again, I'd concern myself less with the script and more with service to the source tune. I may eventually create an extended version of the track for OCR submission to do just that, but until then I'm still quite proud of the remix as it is. BTW, great work everyone. This is definitely a real treat. Cool. An extended mix would be something to look out for, Magus seems to be a tune everyone overlooks because it's such a good track in the first place (though Unknown's piece on the project was pretty good).

On the Samus bios, that's cool on combining them. I was experimenting mostly with the second bio, and it did turn out fairly thin. Unless you think there's any info in the Prime bio that needs transferring, just use the first one. I could try to splice them if you want me to..

This was the first site project I listened to all the way through without going ahead and spoiling it. Blame bitorrent on that one. I'm glad I did, though, as Chrono Symphonic doesn't seem to work half as well separately. Not since Relics of the Chozo has a logical progression been used to effect within the entire collaboration. Not without a few hiccups on the way, however. The album opens with Inciting Incident, which was always a good start to open with. It's short, sweet, a nice build up that tugs on the CT fanboy's nostalgia they've had ever since finishing the game. Here we begin to see the fruits of Compyfox's labour, this track having been released for quite a while. The main difference is the percussion, being much deeper and more satisfying. It sounds good, but to agree with Gray and Larry, a feeling of dryness comes across somewhat. From its beginning, Morning Sunlight seems a little redundant due to its similar intro, but does end up being an asset to the album. The use of piano in the latter stages brings a warmth to the track, and acts as a 'calm before the storm' entry. Despite its relative obscurity in the context of the album, this came across rather well, and is one of my favourites. Blue Skies Over Guardia was always a favourite Darkesword track of mine, preferring his orchestral works over others. Though it may seem cheap to simply reuse that track in this release, the blow is softened by Roland's mastering- now the lower end has more power than before. I've never heard any of Sleepy Emp's work before (unless a name change was in order), but I have to say that I was impressed with his work and To Lands Unknown. A pity this had to end prematurely in order to work with the script. The dark intro set a good mood for a battle track, but I'm not sure the piano quite worked for Darkness Dueling. Nice soloing, but I wasn't quite feeling 'an onslaught of robotic enemies'. For its short time in the spotlight, the song repeated the melody twice, so maybe the lack on length on it was a good thing after all. Zas' recent Prelude mix on OCR was a good track, and definitely advocated his talents. I don't feel Lucca's Arrival was quite as good, but was a nice addition to the album. One thing that striked me, however, was the mastering- Prelude gave off more power than this track, though that may have more to do with the composition than Roland's work. Seeing Claado Shou's name on the tracklist always gave me an uneasy feeling, not having heard his work before, as well as being a relative newcomer in the community. Revelation of Fire brought mixed feelings upon listening- the strings seemed mechanical, as was the rest of the composition. I don't feel like the Trial source tune worked well in this context, which was always more trivial compared to the big bad Lavos. Length also seemed to strangle this one a bit, not allowing a sufficient buildup in the song. The opening drums on Hymn of Valor were a little underwhelming, midi like in nature. Good news, then, that they gave little indication on the rest of the song. This one was good, a sufficient buildup projecting power without being particularly loud. I'm glad ellywu2 came through in finishing his work on Chrono Symphonic, as his songs always indicate power and pacing. Frog's Intervention is possibly my favourite track on the album (which may or may not have to do with the source tune). Nevertheless, this one does the Frog theme justice in my words, an epicness present with use of volume and build to end up with a great representation of one of the coolest source tunes for a frog ever. At first I though PLBenjaminZ was the same as Neil Benjamin of Far Away Memories and Tragedy of a Bullet- no big loss, as Denadoro Climb turns out to be a decent spin on the oft covered Wind Scene. Nothing much to say here, as it's what you'd expect in such an arrangement. I'm a little perplexed on why such a source tune was used in this song, however, Underground Sewer being the actual tune played in this section of the game. ellywu2 with Frog's theme again, yet The Masamune manages to be an entirely different take on the theme. You can tell that the scene which this plays in would be a classic movie moment, upon seeing the Masamune glinting atop the rock. Though being of the same source from the same artist, this track also manages to be one of my favourites. I doubt a mixer as prominent as mv needs help on his work, as Darkest Omen doesn't do much wrong per se. It is precariously close to the source though, and its place here in the track list seems very strange. In terms of the Frog/Cyrus flashback, it doesn't work at all. Orchestration wise, it's great. As good as the source tune is, Confronting the Mystic fails to do the same thing to the listener. Diving head first into the main tune seemed premature and goes against what the original tune was doing in the first place. In other genres, I'd praise the variation from the original, but for a bombastic orchestral score, the buildup just isn't there. Sorry, sephfire. I wouldn't have counted Door to the End of Time to premiere Chrono Symphonic on the OCR front page, but after, actually listening to it, one realises its flair in using several source tunes to recreate Chrono Trigger on the silver screen. From the interesting intro to the fading ending, the transitions help capture the feeling without being too long or tedious. I've always liked Set Sail, and to see more from Blake is a treat. Nice work. We've heard it far too many times, but SirRus manages to prevent the Zeal melody from sounding bland and a 'been there, got the t- shirt' vibe. Manifest Destiny actually capitalizes on the Eastern flavour of the source, oft overlooked by other mixers. Like the respective section in the game, this song is fairly short, and thankfully doesn't outstay its welcome. I'm not sure what to think with the Schala and the Queen collaboration. The longest track on the album, I got a vibe of medleyitis initially, and I'm not sure whether the transition to vocals worked too well. Even knowing that they would appear, the sudden onslaught of Japanese made me go, "What're you doing here, Miss Goldin?" extrakun's comment on a karaoke vibe felt apparent, the volume change too much in a small amount of time. After overlooking that issue, however, the song manages to create an interesting experience. Even now I'm not quite sure where it's going to go compositionally, which could be seen as a plus or minus. I'm leaning to the more positive side personally, the ending capping off a long track well. Mr Triplett returns once more in The Third Guru, with much the same problems as his first track on the album. Upon first listen, my thought was that the two tracks were originally one, cut in half with a melody painted over. Though that may sound harsh, I feel that it's noticeable enough not to ignore. I hope that you, Andrew, use these tracks to improve your musical ability, as they do contain promise, just too mechanical. Rellik is a multi talented musician, evident in both his electronica and orchestral works. Though the name is already taken, Beneath the Surface manages to take the desperation in the original source tune and use it with flair. The power and volume is impressive, I wish it were that much longer. Mr Ansari second track on the album is more a bridge than a seperate song, The Rising acting as a prelude to the imminent battles ahead. Nothing amazing, but it doesn't really have to draw attention to itself. The short length helps it cover the repetition. A double Darkesword with Crono's Dream. Really a black sheep on the album, Shariq accomplishes something different as compared to the rest of the songs. The descent into an unsettling, off key rendition of the theme is an interesting and fun to listen to effect, but it would have been cooler if there was more of an ending to the piece. If you've heard one Russell Cox piece, you've heard them all, not that that's a bad thing. For such a turning point in the score, The Chrono Trigger seems to lack an emotion that would be needed at this point. Standalone, however, it's a nice song, which may be a little too quiet. The ending helps wrap things up with a sudden burst of sound and energy. Tyler Heath rocks. There's no doubting that fact. A Parting of Ways uses bursts of sound to help keep the listener interested, and breaks up the monotomy to create a great experience. The dynamics really make the song, and help create a precursor feeling to the next track, and the final battle. The Last Stand was a great surprise to me, a sign of maturation from RoeTaKa's musical ability. I could never envision him doing an orchestral piece, but here Alex manages to deliver a emotionally powerful final battle score. Some of the transitions were a bit stunted, and a bad note is apparent at 5:18 , but the final product worked well in the album (I'm liking 3:25 as a glimmer of hope), standing up to expectation. I'm confident we'll see the name RoeTaKa on OCR's home page soon enough. The aftermath, one expects something something mushy and soothing, but the explosion of orchestra in The New Beginning definitely helps round out Chrono Symphonic in a grand way. This is really a great ending to the album, no complaints here. Acting as the ending credits solo piece, the rendition of To Far Away Times is a great piece. Despite my listening to it far too many times before the project's release, it still has a freshness in its composition, lyrics, and singing. A great collaboration from Reuben Kee, pixietricks and Claado Shou. Despite some improvements that could be made in various areas, I feel that this came out rather well. It's not my favourite project (I doubt anything will ever top Kong in Concert for me), but this was quality. I thank everyone that helped make this a reality. And I'm not even that big a fan of Chrono Trigger (still haven't beaten Lavos, dammit).

A snippet from my review of Chrono Symphonic on Mr Perdue's track: I wouldn't have counted Door to the End of Time to premiere Chrono Symphonic on the OCR front page, but after, actually listening to it, one realises its flair in using several source tunes to recreate Chrono Trigger on the silver screen. From the interesting intro to the fading ending, the transitions help capture the feeling without being too long or tedious. I've always liked Set Sail, and to see more from Blake is a treat. Nice work.

Question for anyone in the know- which version of Far Away Times ended up on the album? Orchestral or non orchestral?

Im not looking for any $$... but i did notice that the remix project "the american album" something, had a donation button on it, so i was just bringin it up you silly.. I figured there may have been thoughts about putting one on. Well, I don't know for sure, but seeing as "the american album" was an effort by Mazedude alone, he probably just had a donation button because it was on his website. It most likely didnt have anything to do with his project. Just clearing things up, it was intended for the project. The American Album was originally intended for a OneUp Studios release, legalised and everything. Circumstances made Mazedude change that to a free release, instead putting a donation system to get some money back from all the work he put in. He could do that legally because it wasn't directly involved with the music, more a 'on the side, give money because he deserves it' thing.

Mouser X, I know what you mean. Wikipedia can be a bit plain as it were, so I'm trying to use a wider range of sources (but in some cases with obscure characters, you can have little choice). You can also get stuck when trying to write in a style different to the Wiki, and not just repeating word for word. I probably do that as well (please, if anyone thinks they get a little too close, say so!) Samus Aran (Prime) NINTENDO 1986 This article is one of two Samus biographies. For more information, consult the Samus Aran bio. “But among the stars, there is one light that burns brighter than all others. The light of Samus Aran. Her battles extend beyond her life, and etch themselves into history.” So says the prologue to Metroid Prime (PAL release), Samus’ first ever foray into the third dimension. The determination and strength of the bounty hunter has allowed her to overcome many obstacles in her epic missions. Samus had rarely been seen since her appearance in Super Metroid eight years before; only popping up in the Nintendo 64’s Super Smash Bros as a projectile and air based fighter. Rookie development house Retro Studios was trusted with the task of breathing life into the Metroid franchise and the character of Samus, and did so soundly. Set immediately after the original Metroid, Samus chased the remains of the Space Pirate fleet to the dormant planet Tallon IV, poisoned by the radioactive substance Phazon. Far more backstory was present in this game, allowing the player to discover events as Samus and uncover more about her character. Her femininity was capitalized in cut scenes, though not in a sexual manner, to show her independence and strength. The Prime side story was continued by Retro in 2004, through Metroid Prime 2: Echoes. Using a system similar to Zelda on the SNES, Samus had to traverse through two parallel dimensions to help the Luminoth gain back their planet. Here an extension of Samus acted as the lead antagonist- Dark Samus, feeding off the Phazon rife throughout the planet Aether. In a move uncommon in the Metroid series, dialogue was present in this title, occurring between Samus and the Luminoth leader. While returning in HAL’s Smash Bros sequel, the bounty hunter also saw a resurrection of her story on the Game Boy Advance, returning to 2D and the post SNES story in Metroid Fusion. The food chain on SR-388 upset, Samus was infected by a rapidly multiplying parasite on an expedition. Saved by the DNA of the last living Metroid, she proceeded to help destroy the parasite threat. Though remaining in the same formula as the Metroid games of old, Fusion presented a more linear experience for the player. Source: Samus Aran Wikipedia Page Metroid Prime Wikipedia Page Metroid Prime Manual Metroid Prime 2: Echoes Manual Games Samus has appeared in: NES Metroid (1986) GAME BOY Metroid II: Return of Samus (1992) Metroid Fusion (2002) Metroid: Zero Mission (2004) SNES Super Metroid (1994) NINTENDO 64 Super Smash Bros (1999) GAMECUBE Super Smash Bros Melee (2001) Metroid Prime (2002) Metroid Prime 2: Echoes (2004)

McVaffe's Cutman Sonata has sheet music posted on his site. It wasn't made by McVaffe, but he has personally approved it.

You still haven't read the thread. Zyko isn't white- he's Egyptian, and his intentions were definitely not what you're reading into this. Check his words on pages 2, 4 and 5.

I can give you the list of what's been done.. Hiryu (Mascot #3) - Psychotic Ninja Megaman (Mascot #6) - GNU1516 Leon Belmont (Mascot #7) - Psychotic Ninja Sonic the Hedgehog (Mascot # - Rexy Alex Kidd (Mascot #9) - watkinzez Samus Aran (Mascot #13) - watkinzez Ness (Mascot #14) - watkinzez Donkey Kong (Mascot #15) - watkinzez Cammy White (Mascot #17) - Psychotic Ninja Bowser (Mascot #25) - watkinzez Vivi Ornitier (Mascot #26) - OmegaMe Toad (Mascot #39) - Linearity Samus Aran (Prime) (Mascot #40) - watkinzez Fox McCloud (Mascot #42) - watkinzez Joanna Dark (Mascot #46) - watkinzez Mega Man X (Mascot #47) - Psychotic Ninja Earthworm Jim (Mascot #59) - Daethar Diddy Kong (Mascot #60) - watkinzez Doom Trooper (Mascot #71) - Dafydd Geno (Mascot #79) - watkinzez Vega/Balrog (Mascot #81) - Psychotic Ninja M. Bison (Mascot #89) - Psychotic Ninja Lemming (Mascot #95) - watkinzez Captain Falcon (Mascot #100) - Dafydd Viewtiful Joe (Mascot #112) - watkinzez Metroid (Mascot #117) - watkinzez Deku Link (Mascot #118) - Linearity Saria (Mascot #125) - watkinzez The Turks (Mascot #128) - OmegaMe Sora (Mascot #129) - OmegaMe Chocobo (Mascot #130) - Bummerdude EDIT by Dafydd: lol, thanks a lot, Wz. I could add in here that Captain Falcon (#100) - Dafydd Bomberman (#127) - 1link~jing1.mp3 Megaman (#6) - GNU1516 are half-way done or unsatisfactory, so if you think you can write a better bio on those, post them here (name of character and bio ONLY) and I'll get my moderator's scissors and glue and adjust things.

I plan to do the other Samus mascot after this as a sort of double bio. This one focuses on the pre Prime era. Samus Aran NINTENDO 1986 This article is one of two Samus biographies. For more information, consult the Samus Aran (Prime) bio. Samus Aran and the Metroid series of games remain a black sheep in the Nintendo family, though not because of quality- the franchise in many ways is the opposite of what many people associate with the company. Ominous terrain to traverse, surpisingly deep and immersive storylines, and a feminine hero which fails to conform to video game stereotypes. Bounty Hunter Samus was never truly revealed to the player, who assumed their gender was male, until the end of the game- her impact as a character first and a female second. Going against the princess in distress role, Samus Aran appeared first appeared in Metroid for the NES, headed up by Gunpei Yokoi (who would go on to create the original Game Boy). Here Samus accepted the job to eliminate a stolen batch of Metroids, dangerous parasites, from the Galactic Federation’s enemy the Space Pirates. The Metroid creature posed a threat to the peace of the galaxy, being bred as an army for the Pirates’ leader, Mother Brain. The game is remembered as a non linear experience, at odds with the beat em ups of the day. Vertical scrolling helped create a more intricate design to the caverns of Zebes, the planet on which the game was set. The sequel, Return of Samus, told of the Bounty Hunter’s mission to eradicate the Metroid species on their home planet, SR-388. Aran returned on the Super Nintendo in 1994, taking advantage of the increased power of the medium. Using the 24- megabit cartridge, the largest at the time, Nintendo created a vast, expansive world set back on Zebes. Samus starts her mission with the intent on rescuing a stolen Metroid research subject, the last of the species. Former antagonist Ridley, from the original game, used the subject with intentions to resurrect the Space Pirate army and ultimately Mother Brain. While some see the series as a mild diversion to the platformers of the day, the intimacy with Samus as a character helped the games become a more immersive and memorable experience. For a character with little backstory and no dialogue, the lone hunter traversing desolate, alien landscapes cemented her role in video game history. Source: Samus Aran Wikipedia Page Super Metroid Wikipedia Page Super Metroid Manual Hyper Magazine #119- The Real Girl Gamers Games Samus has appeared in: NES Metroid (1986) GAME BOY Metroid II: Return of Samus (1992) Metroid Fusion (2002) Metroid: Zero Mission (2004) SNES Super Metroid (1994) NINTENDO 64 Super Smash Bros (1999) GAMECUBE Super Smash Bros Melee (2001) Metroid Prime (2002) Metroid Prime 2: Echoes (2004)