prophetik music

we talked about this internally and ultimately made the decision to reject this due to the format (six discrete tracks that transition into each other). we've had a few of these where it's a full EP or album submitted as a whole and done this as well. if you'd like to submit your individual tracks, please separate them with normal start/end points and submit them separately. Seven Songs for 7th Saga is an example of this. NO OVERRIDE

opens with some stacked fifths pad and an interesting filter sweep sfx. i agree that the initial lead doesn't punch through at all, there's gotta be something on it to make it pop. there's a little movement on the drums which i like pitch-wise in a few of the fills, but i did notice that the same snare fill got used several times before the 1:00 mark. there's a nice break at 0:50, well-timed, and i liked the smaller kit there for a bit. around this point i really felt like the lead was a placeholder and was waiting for the real instrument to come in - it just doesn't sound strong enough to be a lead at all. there's a fade transition at 1:08 that i really didn't care for - reminded me of the sample tracks i used to hear on myspace =P i'm too trained to assume fadeouts are endings, it felt strange as a transitional element. 1:09's got a neat rising element which was fun to hear. still no change to the lead by here, and there is not much going on from a pad perspective on this section so it feels a bit empty. i liked the rhythm of the percussive elements matching the melody, that was fun. 1:28's got some more updates on drums which was fun to hear, and there's some playing with sample duration in here too which was a neat change. 1:58's a recap of some of the earlier material with some new ear candy to catch, and then we get some descending action at 2:19. introducing new harmonic material right at the end of the track and then fading without a resolution or prep might not be the best idea - at the very least, providing a more clear closing point to the track would help a lot. i love to see you branching out! i think that, like gario said, a big element to change would be to beef up the initial saw lead that's used throughout, and to focus on setting the soundscape up better (being careful about pad usage, consistent verb usage, and spacing within the freq range throughout). i'd also point out that there's not really a strong direction throughout the piece - it feels like a bunch of disparate parts. identifying a way to pin everything together better and lead from section to section would help a lot, i think. NO

opens with foley and voiceover elements, As Is Tradition for a VQ track. i don't know where the melodic material happening behind the voiceovers comes from. some more elements come in around 1:50 and there's some keyboard elements that are lacking in velocitization, but there's some interesting textures being used here as more and more orchestral elements come in. there's a transition around 2:40ish with some horns, and they don't sound great - really blatty and far away, i think there's some extra processing on them that's causing them to sound more distant and lacking in attack than you'd expect. there's a hard shift at 3:03 to the organ as a lead instrument. there's a bass with some attack modulation on it, and a few other elements added in like some strings and bells as a percussive element. this instrumentation doesn't blend at all with the prior section, it lacks intensity as compared to the original and what's been brewing in this remix so far, and i honestly am having trouble mapping it to the original as more than just the chord structure if even that. the chords that enter with the vordt theme also feel transformed beyond where their relationship to the original is not apparent. most of these instruments have a lot of bass content as well and they've overlapping a lot (an issue i run into with organ often). this noodles through the chord progression, continues to feel muddy and indirect with motion, and then hits a big section of falling action at 4:56. 5:42 is the Holy Blade section. the representation here again feels like there's no clear direction for a while, with the instrumentation kind of all doing its own thing and not coming together to a cohesive thing until 6:20. i can hear the adaptation of the Holy Blade descending riff here much clearer, which is good. the original's intensity and verve isn't present, which is kind of an interesting albeit confusing correlation against the fairly intense vocal lines and speed increase at the 7 minute mark. the entire section starting around 7:20 is probably the most cohesive section you've got in the entire piece, but i'd say that also it's still rife with similar issues as before, like the big buzzy bass instrument taking up a ton of frequency range and a lead that's hard to hear what's going on, and overall it's wandering instead of feeling like it's got a driving melodic element that's leading it. there's a sudden break and then the end comes out of nowhere. overall i don't care for most of the direction of the work at all. i feel it's way more focused on the voiceover than on the music in the first several minutes and a few significant chunks after that (like between a quarter and a third of the track feels voiceover-driven). separately i feel it wanders throughout without focus on a melodic element or even a timbral element - there's no direction, and so it's hard to keep track of what's going on. the majority of the work, it's not clear where the music is coming from - it's either so heavily transformed or reduced that i can't map it. lastly, in several sections including the organ part at 3:03 and the holy blade section, there's a lot of overlapping elements in similar frequency ranges, so it's hard to understand aurally what's going on where. i'd be remiss to say that i just don't get a lot of the dynamics and 'story' of the work overall. there's some neat building action through the first few minutes, but the release of that energy is...the horn section around 2:40, which doesn't use it at all. then there's another big build into the organ section, and that almost immediately disperses the build into a chordal exploration that i had trouble identifying where it comes from. similarly, the end of this section falls off almost immediately into a big voiceover-focused section that actually has no music playing for several seconds in it. the shape and macro direction of the work is not clear. these are not easy fixes. i think that making the correlations to the originals in the earlier sections will make the volume (and volume) of the voiceovers more palatable, even if i think most of them are gross-sounding (not a horror fan, sorry). i think that really taking a critical eye to the organ section at 3:03 and EQing and/or changing instrumentation and instrument ranges so as to avoid some of the overlapping freqs will make that section easier on the ears. i also think that taking a look at the sections where the references to the original are basically just chord changes (long sections, like the two minutes after the organ comes in, or most of the minute before that) with very modified moving lines above them, and finding ways to tie those clearly and directly to the original will help a lot. lastly, finding ways to more consistently handle the builds and releases of the energy you build up in some of these sections would help immensely. i kept feeling let down when builds and ensemble crescendos didn't go anywhere - it happens four or five times at least throughout the work. it's going to sound like i didn't enjoy much of this at all. to be honest, i didn't! but it's not required for me to enjoy the piece in order to critique the technical and arrangement elements. right now the scope and vision feels too big. i think overall that this needs a lot of transformative work to reign in the wilder bits and focus it more, so as to be more effective at conveying what you're trying to convey. right now it's a wildly imaginative, visionary, probably over-extending attempt. NO

*PROJECT - OCR TIMESHIFT ALBUM* COLLABORATORS: gravitygauntlet - ADDITIONAL LAYERED SYNTHS, DRUMS & COMPOSITIONAL VSTI Rad Decision - ARRANGEMENT TRANSPOSITION TO F#M; ADDITIONAL SPOOKY SFX JSABlixer - ADDITIONAL GAMEBOY TRANSITIONAL SFX . . .Bloodborne Kart, anyone? :D Taking "Ol' Skool" VGM leitmotif into the modern age, this remix of Bloodborne and Dark Souls 3 sources is the love-child of my immense passion and intrigue for the SoulsBorne-series of games created by FromSoft, fused with the games of my generation that SoulsBorne may take influence from (i.e. Castlevania). I felt it appropriate for the TimeShift album to give these sources a sort of..."vintage coat of paint", with the delicately curated soundscape and design, to make it feel as if "this is Souls-like, but--" GameBoy Advance or Nintendo 64; and it has felt like such a wonderful way to showcase and marry the concept of time (by honoring both a NEW and an OLD game franchise), and how both have, and still does, shape my being, my pursuits and my life. At 36 years of age (at the time of writing this), I've lived long enough to see the span of video games grow and flourish across *so many* different genres, eras and consoles, and *still* witness and enjoy them to this day. This goes for OverClocked ReMix as well, as both a site and a purveyor of the finest quality VGM remixes--having had built a library of them and skulked around the site for decades at this point, (practically since its inception, back when I was in late-junior high / early-high school!) Being able to meld my adoration for the old and the new within this has been a blessing, an honor and a joy, and I hope others will cast aside their weak flesh and join us Beasts of the Old Blood for the danse macabre of merriment on this dark-lit moon night. <3 This song is not only in dedication to OCRemix's 25th Anniversary celebration, but to...someone special and personal, who is extremely and very dear to me. . . He got me into the SoulsBorne series years ago, we've shared lots of fun times in general together since meeting on Final Fantasy XIV and sharing in our mutual love of both franchises, and hopefully many more to come. Ten plus years knowing him, and so many more of me knowing about OCRemix. I am so thankful to have become a part of this community and the VGM-sphere as a whole. This is my gift to everyone in it, however-- -- Kaz, this one's for you, with my deepest, heartfelt love and respect. Cheers everybody, enjoy, and a big thank you to all who listen to this song now and forevermore. Big hugs and shout-out to EVERYONE as well who were involved in the TimeShift project Discord, collaborated with me on this, or just lent ears for feedback and helped out. Y'all are the true all-stars and champions here. Thank you so much, from the bottom of my heart. # SUMMARY OF THE REMIX: A hauntingly 'jovial' church ceremony and dance -- this remix has seemingly turned from an overtly horror-trope-y, slow death requiem march/choral mass to a more German classical opera/French Baroque, stately Castlevania 64-style arrangement, by changing it from the Dm -> Bm of the original main source (Ludwig's boss themes) into F#m. My hope is the wonderful mixture of realistic cinematic instrumentation and percussion as the bedrock / foundation, with the very modern Hip-Hop / R&B spin and structure on a chiptune platter of cherries on top are both saucy and unique for the sources used. One other note--besides SFX and atmospheres used, and the VO, *everything presented here* in the remix arrangement was hand-written by me via MIDI piano roll. Not a SINGLE line of drums or beat or instrumentation is a loop of some kind unless I made it from scratch. :) This will also be my first mix in actually writing CCs on MIDI lines for orchestral dynamics and expression. :D So, indeed, onwards and upwards. <3 A big thank you to those in the Discord chat who helped me to learn how to do it. REMIX INFLUENCES & INSPIRATIONS: 1980s Slasher Flicks (Halloween & Nightmare on Elm Street, specifically--you can hear it in the Intro's keyboards/piano, chiptune and staccato/spiccato strings hitting the fast bouncy plucks as countermelodies/counterharmonies to the mains @ 2:19) Phantom of the Opera (e.g. the pipe organs) Hammer Horror (Dracula, specifically--lines and FX of VO utilizes Francis Ford Coppola's 'Bram Stoker's Dracula' [1992] dialogue and wolf howls @ 5:21) Castlevania (N64/GBA-era: examples - 1, 2, 3, 4) Goosebumps / Are You Afraid of the Dark? (90s references & vibes) Old 1930s-50s radio plays, cinematics and horror/sci-fi dramas (e.g. War of the Worlds, hence the voice acting and VO FX) Black Violin # SOURCES USED AND THEIR PARTS (EVERY SOURCE TRANSPOSED FROM Dm/Bm TO F#m, BY COURTESY AND HELP OF RAD DECISION): Main Source - Ludwig - Accursed & Holy Blade: [P1] 00:00 - 04:18 / [Transition & Interlude for Boss Cutscene] 03:03 - 04:18 = Ludwig the Accursed; [P2] 04:19 - End = Ludwig the Holy Blade Father Gascoigne Boss Theme (utilizing the horn and bass stabs that start around 00:20) Cleric Beast / Vicar Amelia Boss Theme (utilizing the choir lines starting @ 00:15) Vordt of the Boreal Valley Boss Theme (utilizing the choir lines starting @ 01:48) SOURCE & REFERENCE BREAKDOWN: 00:00 - 02:42 = Modified / expanded version of Ludwig the Accursed's first few bars of its melody line and chords, stretched to become the intro and building operatic landscape for the piece 01:24 - 02:05 = FATHER GASCOIGNE bass stabs w/ Ludwig solo violin & chiptune melody 02:19 - 02:42 = repeated pulsing arp piano & string hits [spicc & stacc] are reminiscent of and take inspiration directly from the theme of the movie Halloween; the sound palette of the keyboard synth hits & chiptune plink-plonk are a reflection of the same motif used in the original Nightmare on Elm Street theme 02:32 - 03:03 = FATHER GASCOIGNE rising horn section present as a transition assist 03:04 - 05:41 = LUDWIG THE ACCURSED, in full 03:52 - 04:34 = VORDT OF THE BOREAL VALLEY choir present (from Phase 2 of his original boss fight source); starts out being heard by the soft choir synth growing louder and louder, and then becomes the organs, timpani & percs (marimbas, xylophones & hand bell hits) as part of the larger swelling, ebb and flow orchestra set; other instruments, tubular bells and chimes continue the remainder of LUDWIG THE ACCURSED up until the source's transitional break 04:56 - 05:42 = LUDWIG'S cutscene / transition Interlude 05:24 - 05:42 = CLERIC BEAST choir present; crescendos in-behind the Dracula lines, and the rising tension, chattering strings as part of the LUDWIG transition into Phase 2, HOLY BLADE 05:42 - END = LUDWIG THE HOLY BLADE, in full [switches up to a brief +3 semitones up / Minor Key Change @ 08:33-34 - 08:48] 07:36 - 08:05 & 08:12 - 08:52 = CLERIC BEAST choir chords return as the trancey, pulsating, zappy synth stings, which are paired with the synth choirs as part of the finale ---- * NOTE -- ALL VOs [except the Dracula VA insert] COME FROM BLOODBORNE AND ITS DLC, THE OLD HUNTERS, BY THE FOLLOWING CHARACTERS - Micolash--Host of the Nightmare, Vicar Amelia, Father Gascoigne the Hunter and Ludwig the Accursed. ** Instrumentals were layered with gravity's own VSTi renders, playing similar MIDI content; Rad Decision assisted with adding ghostly, haunting winds and howls, as well as key transposition duties; you can hear JSA's contributions towards the end of the remix, where underneath Ludwig's dialogue are GameBoy noise/static sweeps and crunch paired with the scary, rising strings and other accompaniment as part of the transition to a faster BPM. Games & Sources BLOODBORNE - THE OLD HUNTERS Original Soundtrack; Tracks 4 & 5 - Ludwig, The Holy Blade & Ludwig, The Accursed; Artist(s): SIE Sound Team / Ryan Amon, Tsukasa Saitoh, Michael Wandmacher, Yuka Kitamura, Cris Velasco & Nobuyoshi Suzuki; Release Date: 2015; Label: Sony / Bandai Namco BLOODBORNE Original Soundtrack; Track 4 - The Hunter [Father Gascoigne] & Track 5 - Cleric Beast [Vicar Amelia]; Artist(s): SIE Sound Team / Ryan Amon, Tsukasa Saitoh, Michael Wandmacher, Yuka Kitamura, Cris Velasco & Nobuyoshi Suzuki; Release Date: 2015; Label: Sony / Bandai Namco DARK SOULS 3 Original Soundtrack; Track 6 - Vordt of the Boreal Valley; Artist(s): Nobuyoshi Suzuki and Yuka Kitamura; Release Date: 2016; Label: Sony / Bandai Namco

immediately recognizable opening, even with the cimbalom. the track feels very early PC with the vocal patch, which is a fun coincidence. it's a very spare atmosphere you've created here - often only a few individual notes playing at any given time, and a surprising amount of unison up front in the couple of instruments you're using. 0:50 brings in some more activity, and the cimbalom really works well for this realization. 1:18 adds in the choirs in unison with the low strings, and i like the idea but think the execution isn't quite there. it's just too robotic in the cimbalom and doesn't sound particularly realistic in the strings/choir. the cimbalom-only section after this has some more velocitization on it which is nice, but it's audible where the velocity pattern repeats. the subsequent building section at 1:57 is nice, but the partwriting is pretty simplistic in here and heavily weighted towards my left ear. there's a wrong note in the bass at 2:21, and a few (probably but not sure) notes that aren't in the key soon after in the middle voices. this shifts to a new section at 2:35 and how consistently the cimbalom has been hammering away at roughly the same volume and attack speed throughout the song becomes more noticeable in here. the lack of true velocity changes (particularly to more quiet tones) is starting to grate by this part. there's some intense building action until the big hit at 3:26, and this section sounds pretty exciting. it's also very muddy and boomy due to the orchestral toms being used. there's some neat evocative feels in here but overall the use of heavy unisons and no part-writing in the supporting lines really kills the energy for me. it ends with a kangling note that is cut off, and it's done. this is a really neat idea! i think there's definitely legs in the arrangement - the combination of old-world instruments is a really neat one. i think first off that there's a lot of room for partwriting that isn't just unison strings and choir layered, especially with the richness of the chords uelman uses throughout. separately, i think that there's a lot more room for nuance in all the instruments - most of them feel like they stay in the same middle range of velocities, and there's no dynamics in the instruments as a result. a track that is so intentionally sparse in instrumentation needs to then be super careful in how it uses those instruments, and i don't track that here. i think this is a great one to bring to the workshop or a wip review and have some folks talk about how to flesh it out a bit more without losing the feel. right now though i don't think this one's where it needs to be just yet. NO

uninspiring original. it sounds like this is using a keyboard that's got a synth guitar patch and recorded on a cell phone. i can hear the buttons being pressed pretty clearly. either way it's just two minutes of meandering noodling that doesn't really relate to anything that's in the original. if indeed the right audio was uploaded, it's not anything for the game. this doesn't appear to relate to the game, and it doesn't meet most if any of our standards around sound quality, arrangement, or execution. NO OVERRIDE

welcome back! agree that there's a hard hole between about 150hz and about 275hz, which is part of why the track feels a bit scooped. there's not much past like 1khz either, which is why it's a little dead. separately there's also some elements right away that are hard panned all the way left and right (the early keys) whereas other elements are full-center (drums), which makes some things sound a bit weird on headphones but wouldn't be noticeable on speakers. i need to stress that this sounds so much better than it did last time though. it's like they're completely different tracks. there's a big break at 0:57 which is well-timed, and then a bit of building action that goes longer than i initially expect and is more transitional into the battle theme elements. this noodles a bit before we get back to the A theme and content. the drums are a little contrived here. this trucks through the melodic content one more time before it hits the outro at 2:50, and then it's done. i think this is almost there! you're to the part now where you don't need to make significant changes, but the little things you tweak here and there will result in a vastly improved product. if you filled back in that hold around 200hz that i mentioned before, open up the top of your EQs a touch to allow some >1khz content (especially from your hats), and reigned in some of the stereo separation of your keys, i think that helps a lot. a better transition at 2:02 would help too. lastly, the section from about 1:14 through about 1:50 drags quite a bit. finding a way to instill rhythm and forward focus without losing the vibe there would be a huge help to the middle third of the piece. you're in the home stretch! what a ride so far. honestly this is really close as it is. NO

unfortunately this breaks a number of the Submission Standards. while 1.1 details a wav requirement with no size restrictions, it's reasonable to assume that a 1.4gb file in 192k 32-bit float is excessive. while your track does contain content up past 80khz, our ears don't, so that's not really needed. 3.1 specifies that the music for the arrangement must have been actually used in the game. this does not appear to be true. 4.2 details what constitutes an arrangement. as this is instead something original to you, none of this is fulfilled. 4.3 details a requirement around identifiable and dominant source material. there is no source material used, so this isn't fulfilled. 5.2 details production requirements. none of this appears to be followed. 6.1 details evaluation requirements. the ownership and source material requirements are not fulfilled. we aren't going to be able to evaluate this, nor does a track inspired by but not an arrangement of vgm have a place on OCRemix, unfortunately. it's an interesting exploratory piece when it's not scaring my cats away from my desk, but ultimately a mono solo improv like this isn't going to have wide reception. NO OVERRIDE

last version all six previous versions Tried the file upload, it failed. I'm baaaack, lol. I read all of the advice given, and watched the videos suggested...and as a "treat" of sorts, I did not allow myself to listen to my last submission until I thought this one was ready to submit. After all of the advice followed....wow, I can hear the issues much more clearly in that previous version. As always, I give so much thanks for the time given for consideration and the critiques given, much appreciated! I also appreciate the feedback that has been given in the WIP forum:) Originals Games & Sources Game is Dragon Warrior 4, and this is from chapter 4, Mara and Nara, the sisters of Monbaraba. The music is mainly the walkabout theme, with a section that represents the battle theme included. I've always enjoyed the original 8 bit version more than the successors....with the exception of this ReMix;) I jest. Tried the file upload, it failed. Link given in space provided, and also here.

Persian Improv Sword Marth from Super Smash Bros. Melee. Marth was one of my favorite playable characters from this game. I bought it in February 2002. The 5:00 mark is loosely based on the oil level from Sonic 2 for Genesis. This song is roughly based on the Persian scale from The Guitar Grimoire: G-G#-B-C-C#-Eb-F#-G The book has about 40 different scales in it by the way, you should check it out. It made this song possible as I learned it in 2005. No, I am not sponsoring them or accepting any endorsements from them. Epic sword battles have taken place from Marth against Donkey Kong, Ganondorf, and Falco. Marth and the final opponent are both at 100% damage, one life left each. This is battle music folks. There’s a fire flower, proximity mines, and poké balls. Who will win? The sound bank you hear comes as MONO by default and I wanted to explore the realm of a solo improv piece using a MONO soundbank. The Lo-Fi sound here is killer like Dave’s Killer Bread (the bread even shows this guy playing a guitar lol). I just keep hearing epic sword battles from Marth, as he is one of the quickest and most agile characters as well. I am not sponsoring or endorsing that bread either people. I have perfect pitch, so I am navigating the keyboard improv MONO. Creativity is in demand by ethical people, this proves it, no? OK, so, the song is 8mins 15 seconds long, but this is an improv piece, one that I cannot really get down to a "T". Please forgive me for making the song more than 7 minutes. I hope this song will be an exception to the golden rule here. The Upper Maridia song from Super Metroid would be one of my next contenders in a song for OCRemix (besides a long-lost OCRemix tune). Thank you! — dolphin92329 Games & Sources Marth from Super Smash Bros. Melee for Nintendo Gamecube. Not a soundtrack, my interpretation of Marth. So, yes, is VGM.

opening synths are pretty basic - just a verby arp and some drum machine samples. lead comes in soon after this point and is a wide, fuzzy lead that sounds pretty dated. there's some odd notes right after the 0:30 mark both in the melodic and countermelodic synth - there's a lot of switching between major and minor, and it doesn't work well. the track autopilots through the melodic material a second time in a row in a very similar fashion to the first, and there's a shift to a less beat-driven sound at 1:34 for the B melodic material. the track switches back to the A material for a third time at 2:20 - lot of repetition already! - and does some more similar noodling through the melody before it's done at just over four minutes. i think there's a good concept here - a lo-fi, chill arrangement of the beautiful theme from the game - and i think this just needs more time in the cooker. there's no real dynamic shape to the piece, and that's something that needs to change to avoid it being boring. beyond that, improving the quality of your synthesis and drum elements and ensuring they're always doing something interesting will help a ton. i think the workshop's a great place for this one right now as it's not close to passing - iterating elements from most of this will make for a huge improvement. NO

Xenoblade Chronicles is a game that means a lot to me, and Yoko Shimomura is one of my favorite composers, so I wanted to try and recreate some of her work in my own electronic style. Games & Sources Xenoblade Chronicles - "Hometown"

opens with some podcast-quality voiceovers (that are legitimately hilarious-sounding). the instruments come in around 0:10 and are, as far as i can hear, exactly what the original is playing. we get some real drums at 0:28 but it's still the same as the original through here, and with how short the track is that's a concern. we finally get some added content at 1:03 with the sustained key bits, and some NES Zelda theme riffed in. it continues this way through about 1:58 where we start to get some fun arrangement elements with brass, a synth solo, and some funky riffs. but that's only maybe 20s and then the track's done =( there's nowhere near enough arrangement on this unfortunately. from a mastering standpoint, it definitely feels like it's coming out of a 386's speakers for better or worse. i wouldn't have minded a bit more punch to the overall feel - the bass synth in particular was pretty lacking. but the main knock here is that this just doesn't have much arrangement until the last 20 seconds. you can make an argument that we get something halfway through, but then half the song is just dumped from the midi at that point. it's unfortunately not enough based on the submission standards. NO

opens with a synthy bass bouncing around on the opening's bassline. there's a really horrible sound effect that hurt my ears at 0:05 and a rough saw bass comes in right after as a drum loop fades in. the original starts playing - it might even be the original audio? - in the background and it's honestly pretty hard to hear it over the drums and the bass riff. there's another transition at 0:41 and the drums drop for a bit, which is good - the track wanted a breather for a moment here. again the original audio sounds like it's playing in the background behind some additional synths that are layering. drums are back in by 0:55 and we truck through the second part of the melodic line. there's a bass riff break, and the bass fades out by 1:36 for the same melodic material by the instrument that sounds like the original audio. This trucks through that material until it hits a small outro that looks like a mouse ate some of it, and then it's done. it sounds like this is the original game audio with a drumloop and a few layered synths on top. unfortunately that's not enough arrangement for our site based on the submission standards unfortunately. however, the concept - upscaling some of the synth elements, adding drums, and putting a break in the middle for a solo or something - definitely has legs! you'd need to do a lot to personalize it and make it more radixerus and less masayuki nagao, but i definitely think you can make something work there. i'd encourage you to ditch the original game audio and find your own voice and synths to replicate this, and then bring it to the workshop on the forums or the discord and talk through some ideas there. NO

I've wanted to put something on OCremix since i was 8 years old listening to my dad play them in the car. Now i finally feel like i have something worthy of this place. I also have this on soundcloud and youtube, and even newgrounds, on my associated accounts there. Games & Sources Mecha Green Hill, from Sonic Chaos. https://ocremix.org/song/25923/mecha-green-hill-zone https://www.youtube.com/watch?v=ZbwVPuXFDo8