prophetik music   Judges ⚖️

Yet another remix of DOOM. I'm submitting 1 or 2 more remixes from the series in the upcoming weeks since I haven't seen any of these and a new Doom game is coming in May 15th of this year, I hope this date can be taken in consideration for OCR release pipeline if this or other of my arrangements are accepted. I already saw "Dark Toxin" was accepted. Thanks guys! For this one I fixed the tempo at 88BPM (the original is almost the same) The genre is an Industrial Rock/Dark Synth mood that really fits the pace of the song maybe even some mid tempo at the last quarter of the track. Think about a blend between Rammstein (without the guitars), Powerglove, and Rezz but less aggressive. I hope you'll enjoy it. Games & Sources Doom II. Robert C. Prince. - The Demon's Dead (1994)

opens with some really fun sound design elements, and quickly brings in the molduga rhythm in the bassline. i really liked the distorted synth that builds up through 0:45. there's an extended drop before the beat finally hits. 1:26 is a great feel - i love the variety of stuff going on, lots of filter LFOs. it gets pulled back around 1:52 for some new feels, and i think the timing was good for this. some altered chords around the 2:10 helped mix it up. 2:40 is a nice recap of the molgera stuff and includes some variety in the melodic line for good measure. i liked that the bass finally switches from 16ths to instead be quarters at 3:07 as a way to mix it up a bit right before it's done. there's a not quite fade for the ending, and it's done. as expected, this sounds ridiculously good and is a banger. i don't have any complaints other than i wish it was already on the front page! YES

Artist Notes - Treyt "Who is Chimpazilla?" My first interaction with Chimpa was through the Starfox album project headed by DarkFlameWolf. Chimpa was the dedicated mastering engineer for the album, and though I'd seen the profile picture around and knew she was responsible enough to master an entire album, I didn't have much of an opinion on the character. Lack of information really. That changed when Chimpa got around to mastering my 2nd submission, and I had some questions about general feedback I’d gotten 2nd hand from DarkFlameWolf. From this point on, I got to know the ball of endless positivity that is Chimpazilla. Talented, great ear for production, and more of a Zelda fan than thezeldafreak on Xanga (that was me in 2007 haha) We eventually decided we liked the cut of each other’s gib, and put out some feelers with what I can only describe as an art trade with a twist. She had a psytrance work-in-progress (WIP) that hadn’t seen love for months. I had a psytrance track WIP track I’d just conceptualized. We both liked the other’s WIP. …so we traded! The track I gave her was a remix of the Helldivers 2 theme. Will, the composer for Helldivers 2, has been a part of the OCR community, and with the success of the game and his soundtrack, we both agreed that paying homage would be a pretty cool move. You should check that out if you get the chance. The track she gave me was this: A mashup of both Molgera’s theme from Zelda: The Wind Waker, and Molduga’s theme from Breath of the Wild. Both of the original tracks mean a lot to me, from the terrifying battle in the Wind Temple as an adolescent, to the surprising (yet significantly easier due to age and experience) battle in the Gerudo Desert as I made my way toward the rampaging Vah Rudania. Both tracks were also produced by Hajime Wakai, 15 years apart! Her track didn’t need much. There was a lot of love already in it, and she’d already done some great sound design. Outside of my collab with RidleySnipes on DRWNXD, this was quite possibly the easiest collaboration I’ve ever been a part of! I was very happy to contribute to this piece, and I hope you enjoy listening to this track as much as I enjoy playing it back! -------- Artist Notes: Chimpazilla "Who is Treyt?" Before I dive into my writeup it needs to be mentioned that the "chicka chickas" in this mix were recorded by Emunator. Thanks Wes, they are perfect! I will attempt to keep this short, lest this become a meeting of the Mutual Admiration Society (which this definitely is, but I digress). I recognized Trevor's producer skills from his submissions that I voted on, but I didn't think much more about him until I mastered his Star Fox track "Initiate Code Blue." That track is so badass and it melted my face in the best possible way; that track got my attention 100%. When he reached out to me for feedback on a different master, we got to talking and I brazenly asked him if he'd collab with me. He agreed, and two days later we were off and running with the Helldivers 2 wip he had started, and my Molgeraduga wip that I had shared with him. We had a little stem-exchange party. After working with Trevor on these two tracks over the past two months, I now know that in addition to being immensely creative and talented, he's also a genuinely nice, funny, intelligent, witty, trusting and trustworthy guy. He's right, this was an easy and joyous collab. Regarding Hyrulian Helminths: I love Zelda games, as anyone who knows me for five minutes or longer can attest. I love the themes from both of these worm-boss battles, and they seemed to mesh well together in my head, so I laid out a psytrance track with both themes intertwining together, and the arrangement took on life as I continued to write. It was still fairly bare though, and I kind of ran out of ideas on it. After I passed the stems to Trevor, the track took on even more life with the amazing amount of detail, layers, textures, ear candy, and sheer badassery that he added. To say that I was impressed with what he did is a massive understatement. Trevor said initially "I have never done psytrance" which greatly confuses me, because he does psy like an absolute boss. Our Helldivers 2 remix, also psytrance, will prove this out even further (to be submitted next). We hope you enjoy Hyrulian Helminths. There will be more Chimp-Treyt collabs, that's for sure! Games & Sources Games: The Legend of Zelda: The Wind Waker (Molgera Battle) The Legend of Zelda: Breath of the Wild (Molduga Battle) Also appears in Tears of the Kingdom: Molduga Battle. Composer: Hajime Wakai - Molduga Battle & Molgera Battle Molduga Battle: Molgera Battle: From Chimpazilla, for Liontamer: Hyrulian Helminths - source use breakdown: --------------------------------------------------- Sources: Molduga: https://www.youtube.com/watch?v=_lA6KS6HXDM Molgera: https://www.youtube.com/watch?v=wlF0-Qs2xkI Sections of sources used: Molduga A 0:00-0:12 Molduga B 0:12-0:25 Molgera A (motif) 0:12-0:19 Molgera B (motif) 0:19-0:26 Molgera bells 0:06-0:11 Molgera trumpets 0:11-0:13 --------------------------------------------------- Remix: 0:01-0:14 Molduga A filtered, background 0:14-0:31 Molduga A 0:31-0:35 Molgera A 0:35-0:38 Molduga A 0:38-0:41 Molgera A 0:41-0:48 Molduga A 0:48-0:59 Molgera B and trumpets 0:59-1:12 Molduga A filtered, background 1:12-1:25 Molduga A (with Molgera A from 1:15-1:19 and from 1:21-1:25) 1:25-1:39 Molduga B section 1:42-1:45 Molgera trumpets 1:49-1:52 Molgera trumpets 2:04-2:08 Molgera trumpets 2:09-2:12 Molgera A 2:15-2:19 Molgera A 2:22-2:26 Molgera A 2:43-2:47 Molgera A 2:56-3:00 Molgera A with cool variation 3:17-3:20 Molgera A with cool variation 3:23-3:27 Molgera A 134 seconds, track is 216 seconds long, 62% source use

i would actually say exactly the same thing about where i am right now as a musician =) opens with some arpeggiated elements and the concept of a beat. we start getting the funkiness that i associate with damon's music soon after. 0:22 has some other instrumentation coming in - there's some really fun filtered attacks on a lot of these synths and that causes some neat soundscapes to pop up here and there. melody starts in a woody vibe sound at 0:44, and it's a little far back and to the left so it's harder to hear. reducing the vibrato on it too will help it pop forward in the mix more - kind of like the wind instrument that comes in after it (i think i have that vst also, it's a classic!). this section's a touch loud, i think, and everything feels a bit squeezed but just a bit. fun fill going into the drop at 1:50, and this leads into another recap of the melodic material. 2:15 brings in the B theme, and the transition here is a little sudden. this might have been an opportunity to change up the drums some more. 2:58's another transition, this time to a more muted feel as the track starts to wind down. some sound design here or even a cymbal on the transition would have helped. the ending is similarly unprepared and just kind of happens, which is a real bummer as i think it really would have benefitted from a real ending. it's fun hearing how damon's style has changed over the years, and also hearing what's stayed the same. i really like the focus on fun drums and unique textures. the lack of an ending is a big deal for me, but i think what else is here is enough to carry this over the bar. YES 2/2 edit: adding in some more transitional elements and a real ending makes this so much better. bravo. still a yes but much stronger.

the limit on length is to prevent someone from submitting a 25-minute EP in continuous form. 7 minutes isn't a hard limit - i think we have a 13-minute remix? it's just hard to write long tracks well, so we generally advise against it. opens with some harp and very light textures. i appreciate how much time is taken and the amount of rubato - i'd still have loved for the harp parts to be live so they've got more push-pull, but what's here is nuanced and carefully rendered. the texture at 1:21 is really nice. still surprising how well musescore does for representing the instrumentation when care is taken with it. there's a chord at 1:51 that i can't visualize what's going on, but the subsequent resolution is really nice (albeit a touch long). 2:18 again demonstrates really nice patience with the approach and has some really great scoring and voicing. 3:07 has a huge orchestral crescendo that lasts a solid 20s - again, great job with the scoring to avoid sustain-itis and make the notes being played all matter. there's some really fun chord structures in here as well. i'm also struck how you've managed to go like five minutes without really touching the actual iconic elements of the theme, and it's still so obvious what you're arranging. 6:08 is where you really dig in the spurs and get after the melodic line we've all been waiting for. the timpani here are pretty boomy, and 6:28's chord is a bit sketchy with what's put in the lower voices. and finally, after over seven minutes, we finally get the recognizable melody line. there's a hard dynamic cut at 7:22 that's pretty obviously artificial. we get a final resolution and sustain, and it's done. this is superbly handled and excellently scored - easily the best example of proper orchestral scoring i've heard in months. extremely enjoyable approach. there's some nitpicks here and there, but within the scope of the work this is easily over the bar. nice job. YES

opens with some wide synths. the kick rhythm is a little confusing as there's no beat here to hang your hat on, so it's not clear where the down beat is initially. the melody comes in at 0:24, and you're right, it is questionable. polytonality is a technique i recognize, but it really doesn't work here - it just sounds off-key outright. 0:49 is where the track seems to be more settled. there's a recap of the beginning with some low synth blurbs at 1:13, and those synths kind of step on each other since they're all in the same freq range. the beat picks up at 1:38 and this has a pretty neat vibe once it gets trucking. i'll admit i don't really hear the original in this section. 2:27's lead synth doesn't really make a ton of sense to the rest of what's going on around this section, and it's so highly embellished i definitely wouldn't have caught that it's a reference to the opening without calling it out. right after the main riff here, the track just continues hammering that one note for a pretty long time without significant adds. the melody comes back finally - again, pretty heavily ornamented - and then gets some weird notes around the 3:28 point before the track is suddenly done. so right off the bat - i think that the arrangement has legs. you've got some really creative concept work behind each part of the track (to be honest, probably too much - if a book is needed to understand a 4-minute piece, you're not doing enough as the arranger). there's a lot of padding that can be trimmed, and you need to work on transitions and the opening sections so that they're approachable and understandable. that said, the instrumentation isn't close to being there. if this is supposed to be using some retro sound chip, ok, but evaluating this as a pickup piece of music, the audio quality isn't up to par. there's buckets of free stuff that's better across the board out there, and separately there's a lot of mixology you can do to get better sounds out of the instruments you're choosing. i think that some serious time in the workshop discord would help a ton on this, and i think that some time spent finding ways to get better sound quality from all of your instruments is helpful too. you can do nostalgic with real synths and make it sound like a modern song still. NO

really strikingly beautiful scoring on this original. opening broken chords make sense given the nature of the original. the additional left hand movement at 1:01 is really nice as well. the transition at 1:33 was a little clumsy, but i see where it came from the original. we get the vocal line at 1:52 with a similar backing rhythm and voicing to the opening. there's a fuller section that covers the culmination of the exciting part from the original. after this, we start to get into some recap material. at this point we've gone through the song mostly in a straight line, so i liked that this is starting to recap and explore a bit more. the big hit at 3:39 is rich and initially well-voiced, but it does emphasize that this track probably needs a bit of dynamic compression so that it's not such a huge range. i did not care for how basic the backing line was at 3:53 and felt that should have had more interesting rhythms or voicings given the amount of space in this section. 4:20's the last big blow of the piece, and this also isn't super exciting in what's being played until the big culmination at the end of it - again, i'd have liked to hear either a more complex line than just some chords being comped, or some adaptation of melodic material in there. after this is a very delicate representation of the melody with a beautiful set of arpeggios to back it, and then it's done. the original is really stellar with a beautiful melody line, and you do a great job relaying that throughout. i would have liked to hear a bit more complexity and care with the harmonic accompaniment in a few places, but what's here is well-handled. nice work. YES

Hi OCR, Here is a piano arrangement of the song theme of Last Story, composed by Nobuo UEMATSU. I’ve discovered this OST by curiosity about composer on his works, after his collaboration on the Final Fantasy series. I was really touched by this song, so emotional and sad. I’ve tried to respect this in my arrangement, alternating some soft parts and flights, but keeping restrain in the whole piece. I wanted to announce the main melodic line from the first notes (with some variation on the melody). The following part is based on the intro (part 2). Thought for a string orchestra with long notes, it wasn’t evident to adapt in piano. I’ve taken some liberties with this part to give a piano playing more natural. After that, the song starts with the real melody and a rhythm clearer. It was more natural to play this in piano. Enjoy! Guillaume Breakdown Part 1: 0'00 soft (Toberu Mono 1’12 -> 1’50 ) Part 2: 0'30 (TM 0’00 -> 0’50 ) A) 0’30 Soft B) 1’00 Arpeggios C) 1’33 (TM 0’50->1’12) Part 3 :1’52 (TM 1’12 -> 1’50) A) 1’52 : Soft B) 2’19 : Rhythm Part 4: 2'44 More animated (TM 1’50 -> 2’20) Part 5: 3'18 (TM 1’12 -> 1’50) A) 3’18 : Arpeggios B) 3’40 : Rhythm Part 6: 3'50 Culminant point of the piece (TM 2’20 -> 3’00) Part 7: 4'20 Rhythm (TM 3’00 -> 3’30) Part 8: 4’50 Soft (TM 2’20 -> 3’00) Games & Sources Real Name: Guillaume SAUMANDE Game & Songs: Last Story & Toberu Mono (The Flying One) Composer: Nobuo UEMATSU

To put it simply, the entire "Dovahkiin" theme is cut in various parts and remodelled in several ways between the instruments (just like in the first part but in a more complex way), while still using the harp to pay homage to the original guitar transcription by Harry Murrell, as cited in my last Skyrim submission. To maintain coherence with the guitar arrangement, I'll post the link to the video again and reference the exact minute and second to explain which part I'm reworking with the orchestra. This ReMix begins at the 1:05 mark in Harry's video, this time with a lighter, calmer, and more soothing version. Thanks to the combination of oboe, clarinet, and bassoon in an expressive "conversation" with the harp, the various melodic cells from the theme are imitated and intertwined. We then arrive at the 1:34 mark in Harry's video. In my version, while the harp echoes Harry's guitar, the strings and choir in pianissimo help convey the emotion that specific segment evoked in me. The next section takes a different approach: Inspired by the passage between 1:49 and 2:13 in the video, this time the violins take the lead with the main theme, while the rest of the orchestra gradually builds a more dramatic and intense effect. Personally, I really like this moment, as Harry's corresponding arrangement is as beautiful and nostalgic as it is limited by the expressiveness and dynamics of the classical guitar. A brief — but intentional — silence introduces what would have been the third part. To merge the two parts seamlessly, I cut out a solo harp section of approximately 30 seconds that simply replicated what Harry played between the same mark that inspired the previous section (1:49 to 2:13). The third part begins with an almost astral-like hiccup conversation between winds and the choir/strings. This merges and develops into yet another hopeful reimagining of the theme, resolving in D major and adding vibrant color before transitioning to the final climactic buildup (Harry's 2:13 to 2:40). This first section is also thought as a "re-building section" after the "crushing drama" that came before the silence. The "grand finale" is an attempt to orchestrate Harry's ending with as much energy and power as possible. I truly hope you all like this. -SupremoMusico400 Games & Sources Since the first part was accepted by the OC judges as "Dragonborn Symphony", I decided to name this one "Dragonborn Symphony 2". The source material remains the same, and the composition process hasn’t changed either. I merged the two parts using Shotcut, exporting the two MP3 files of my original work from Musescore 4 and then combining them in the video/audio editing software I just mentioned. From there, I cut and exported the final file to WAV format. I genuinely don’t want this to come across as superficial work. However, my life circumstances don’t allow me the time to delve into audio editing and mixing. To be honest, I’m again relying on Musescore 4 and its soundpacks to be sufficient for this kind of project. Staying on the "honest" note: yes, the piece is 8 minutes and 48 seconds long. I realize it’s almost two minutes over the limit, and I apologize for that. However, I couldn’t bring myself to cut more than the harp solo I referenced in the other section. Doing so would have left me dissatisfied with my own work, and that would have made me reluctant to share it with anyone until I could rework it to my liking. I noticed that Musescore gave me some problems with what I believe to be the horns at a certain point, and there's a buzzing sound of some sort which I couldn't find out how to fix. I couldn't manage to upload the file directly into the site, so I use google drive again, with a link for you to access it at anytime. -SM400 Part 2 - YouTube Part 3 - YouTube

The original idea for turning this into a battle theme was based on the first "tutorial" style battle in Final Fantasy Tactics Advance, where you are in the school yard and proceed to have a turn-based snowball fight to learn the basics. By adding in some higher ends with the use of analog generators and additional samples, I wanted to bring a more nostalgic wintry feel that's accentuated in certain sections and more subtle in others. My track 0:00, source track n/a Since this is a battle theme conversion, I wanted to convey a build-up of tension similar to that of the first 17 seconds of the [REF1] adaptation with a bit of an industrial energy, given we might be stretching the boundaries a little to provide them with basic augmented reality. Battle preparations, taking their places on the field outside Seventh Heaven. Unrelated to the source material but it helps convey the additional discordance that is being introduced. My track 0:24, source track 0:13 The first reference to the main motif in Barret's theme, using the same notes as the original but with less separation between them. This could be considered to be one of the most contentious points of this track but after much contemplation, I do feel that this off-key mix of the lead and rhythm sections compliments everything that comes after it in my submission. The first 37 seconds from [REF3] has a great build-up and was one of the main inspirations behind bringing together the same tones of Barret's Theme while also introducing some discordance and disparity between the notes. Reducing the time between the notes also accentuates this greatly. You could consider it as a warming up phase of the battle - participants haven't really found their footing yet and are fumbling a few of their throws. You can't expect to perform perfectly from the very start and "feel the flow" as a certain character would say, referencing a previous comment about "Yu-Gi-Oh! ZEXAL". My track 0:49, source track 0:39 This is my interpretation of a more traditional upbeat JRPG progression - possibly something you'd see on the Super Nintendo in a game like Chrono Trigger with those organ samples. I do enjoy making some interesting transitions to other similar styles where possible, without ruining the cohesion too much. I hope that it doesn't jarring when dancing between multiple ideas within a single track such as this. In this instance, I think the transitions do make sense and it's something that I continue to explore within compositions and arrangements such as these. My track 1:13, source track n/a 0:49-1:10 from [REF3] showed that I wanted to have a classic lull in proceedings - something to begin building the tensions once again as I feel that is particularly important when it comes to battle themes as opposed to general area or town tracks. Music from the Halo and Spyro the Dragon franchises showed me how important that was when it came to the works composed by O'Donnell/Salvatori and Copeland respectively. Having something that constantly "all-out" constantly active would be far too much for the listener and it's almost impossible to keep up that level of activity without losing what really makes your track sing, introducing too much repetition or adding melodies for the sake of it. I do enjoy employing negative space where possible - less applicable with battle themes but very much underappreciated in atmospheric tracks too. My track 1:38, source track 1:05, 1:27 The middle of the track also serves as the very meat of the experience - what I feel really makes this a battle theme. The contrast between the high notes once again and that lower-pitched lead along with a slightly more "active" bassline are what brings this entire sequence together. There is still a slight mix of hopeful yet combative energy coming from this. Maybe it's the determination that is such an important trait of being a member of Avalanche, never to give up regardless of one's position however bleak it may look. It also makes a callback to the very end of the loop during those overlapping lead chords which I think works particularly well and isn't overpowering. The repositioning of this element of the source track allows us to add our own interpretation of an outro. In the second half of this section, the complexity is reduced and the higher notes are removed, allowing for a more natural progression to the following section - a second lull in proceedings. My track 2:27, source track 0:00 A cheeky little callback to the very beginning of the source material. A chance to cement a wintry feeling by introducing a clean high-pitch square instrument with a touch of reverb. Also a chance to dance around the keyboard a little too! I beefed up the bass too by introducing a low guitar sample which adds a nice counterpoint to the especially higher octave blips from that square. While it references the beginning of Barret's theme, it also vaguely resembles that of the lower notes included in the main motif but this may have been by design from Uematsu-san. My track 3:01, source track 0:13 The second callback to the main motif in Barret's theme, this time without the disparity between the lead notes and the bass/chord tones to convey a culmination of everything that's happened up to this point. It's getting to the end of the skirmish and everyone's ready to battle one more round to see who is victorious! Also including an additional slightly heavier counterpoint to the lead instrument to really drive home that upbeat energy at this point. My track: 3:26, source track n/a "Wait, what's that in the distance - is that part of the simulation or are those people really running in fear towards our location?" A harsh reminder that yes, this is still the Sector 7 slums and some things have or will never change. One minute, you can experience utter joy but at any moment, that euphoria can be stripped from you entirely, leaving nothing but the reality of your existence. Shinra still know about your location and things won't stay the same forever - for better or for worse. My track: 3:35, source track n/a The question remains - is Avalanche able to prevent Shinra from dropping the plate that exists above Sector 7's entirety? Instead of looping around to close off the track, I wanted to leave a question for the listener to ponder as a small cliffhanger. A very short and minor reference for the ending sequence 0:44-0:54 from [REF2] helped to shape this. While it doesn't carry the same sense of "almost" impending destruction or loss, it is still somewhat unnerving. Video references: [REF1] 壱番魔晄炉 Battle Edit (Mako Reactor 1 - Battle Edit) Reference [REF2] Dead End (Final Fantasy VIII) Reference [REF3] 忍びの末裔 Battle Edit (Descendant of Shinobi - Battle Edit) Reference Games & Sources Source track: Barret's Theme (Final Fantasy VII) In a way, I think Barret's theme from Final Fantasy VII has been associated with the beginning of the game, almost a part of the tutorial if you will. The original track is very friendly and upbeat which I feel matches the energy of the start of the game - a successful raid on the Mako Reactor and Cloud, along with the friends in Avalanche, has safely made it back to the (currently) safe slums. They are a very close-knit group whom I believe would definitely enjoy playing competitive sports and other games outside with each other, especially with the younger generation like Barret's daughter Marlene. Now, I know that the Sector 7 Slums are part of the Midgar undercity and many of those residents would never see the light of the surface but if it ever did snow outside Seventh Heaven, this would be the battle theme that played while both teams attempted to pelt each other with compressed snow. Maybe some snow was able to be miraculously preserved with Mako energy after shipping it in from the Icicle Inn from the northern continent or with all their technological advances, a simulation could be developed that converts a small area into a playing field, much like the augmented reality duels from the "Yu-Gi-Oh! ZEXAL" anime. I know, it's a bit of a reach with it being the slums but I would feel that a close unit like Avalanche might put together some funds for something like this for the younger generation, especially given Barret's relationship with his daughter Marlene. He's just a big old softie with a tough outer shell for sure. As the original theme is more a summation of Barret Wallace's overall character, I wanted to skew it towards a battle theme with additional instrumentation and more traditional percussive beat. To do this, I wanted to take some additional inspiration from Nobuo Uematsu's recent arrangements for FF7R. There were two tracks that really stood out for me that take an original area theme and turns them into an incredible battle theme, coined the "Battle Edit" - "Descendant of Shinobi" and "Mako Reactor 1" from Final Fantasy VII Remake. The adaptations from Uematsu-san were what inspired me to try doing something along the same lines. They are an absolute masterstroke in how to turn a cheerful, slower-paced track into something incredibly hype-inducing and combative in nature.

Hey everyone! It has been a while. I hope all is well. Due to some big changes in my career, my focus shifted a bit from making music for the past a couple of years, so I have been relatively quiet on the forums. I wanted to return with a new and improved style, so I took some time to read over comments and feedback from previous WIPs and posted songs, and really tried to figure out what I'm lacking in comparison to other remixers (A LOT). I also wanted to learn more about FL Studio, mixing and mastering, and how to use my Native Instruments samples better. I'm still struggling a bit, but I think I am making good progress. Now, as far as my remix is concerned, I have been having trouble trying to decide exactly what genre this mix would fall under. Maybe, chillhop(ish)? I really don't know... I just make music that feels right, ya know? I made 3 different versions of this particular remix, and I think this version is my favorite one. Though, this is a remix of a Sonic Frontiers song, it was actually inspired by the "Rusty Ruins" track from Sonic 3D Blast (Sega Saturn ver.) and one of my older remixes that was posted waaaaay back in the day, "Day & Night." In previous remixes, I struggled making my music sound natural and non-robotic, so this time around, I focused on adding more variation to note velocities and timing. I still suck at playing my midi keyboard, but I decided to keep some of the minor mistakes and imperfections in the mix, and move away from grid-based composing. I hope you all enjoy the song! Thanks. Games & Sources Sonic Frontiers - Theme of Koko: proph note: this is the same thing for almost 2min and then has a B section at 1:54 that i almost missed

track has at least 4.5db of overhead, probably more if compression is used. opening chords are beautifully voiced. the G# there is certainly a choice. i really like the playing with time that you're doing around the 20s mark, but it becomes tough to hang your hat on a rhythm initially as it's too out of time. i like the 3v2 idea though and when you're more specific about the timing (like closer to the 1:00 mark) it's a lot easier to understand what's going on in the left hand. bar 16 feels really nice after the uncertainty of the opening section. that left hand voicing at bar 19 in beat two sounds weird even with the break you put in with the pedal - i think the G# and D next to each other with no E until halfway through the broken chord makes it hard to catch the chord structure initially. bar 20 though is worth the price of admission - that's straight out of an Uematsu FF piano arrangement, just beautiful. and repeating it at a lower dynamic really gives two perspectives on the same section, i really like that. at 27, nice job in the performance emphasizing the sustains over the noodles getting cooked underneath. we get a recap at 33, some really nice descending elements for a bit, and a heavily embellished broken chord to finish it. this is a beautiful arrangement! full of character, just like the original. there's a few points where academically i see what you did that don't quite sound right to me, but overall i love the concept and perspective. and the performance is very moving with a lot of patience. excellent job. YES

Sheet music for reference: 10 years ago my first OcRemix was posted - it was a piano solo arrangement of the love theme from Earthbound - I thought I'd mark the occasion by submitting an arrangement of the love theme from Earthbound's sequel! It's another personal favourite and something I'm glad I finally got around to covering. The source usage is pretty straight forward - I'll consider the original material to be made up of 2 sections, and A theme (starting from 0:00 in the source) and B theme (starting from 0:50). My remix has a short introduction, with the A theme coming in at about 0:30 (bar 8 in the score). It's a fairly straightforward, unembellished statement of the theme, but set over a bed of quiet descending triplets in the left hand (I'm sort of emulating the start of Mahler's famous adagietto here). There are some minor reharmonizations and twists on the melody here, which transitions to the B theme at bar 16. The texture is a bit thicker here with chords in the right hand and a busier 16th note rhythm in the left, with some ornamental high notes filling the spaces between the melody. It builds back up to the a repeat of the A theme in bar 20. After this climax, it breaks down for a couple measures with some soft 4/6 polyrhythms that continue to weave in and around the repeat of the B theme. After revisiting the original setting of the A theme briefly from bar 33, the piece ends with a quiet arpeggio. Also a small note, in terms of the mix you might notice some low end fuzz and some warbling - there is a vinyl filter on the track that can be removed if it's an issue. Games & Sources Mother 3 - Love Theme

opens with similar orchestra and flourishes. vocals have probably a bit too much reverb and not enough formant boost, so they're hard to make out. the backing elements are frenetic and intense, which is fun. the guitars lead at about 0:39, and there's some violin in there as well. the lead into 1:02 is great, big and intense. there's an extended solo section followed by a section that's just vocals, drums, and strings. the mix overall is really hot (there's a ton of clipping identified) but it's extra loud here, and the cymbals make it so i can't really hear a lot of the vocals. there's another tonal shift at 2:00 - i really liked the shift to the persian scale as a way to mix it up, as it's been fairly straightforward throughout. 2:34's the first real dynamic shift we've had the whole track. the step back here is nice, but again when the crash starts going it's irritating and over-loud. we get a half-time section at 3:33 - would have been nice to hear the drums step back earlier, but i liked a lot when they did so that other stuff could take the fore. percs are back in at 4:17, and everything doesn't sound quite synced right away. crunchy note at 4:58. everything's back in at 5:02, and then suddenly we're in a chorale section! the layering of the parts make it hard to tell what part is what - a bit of panning and varying formant reinforcement and levels of verb would help make the individual parts clearer. this is a cool idea though. coming out of that section at 5:35, we get what's clearly an extended build section for the Final Destination. 6:29's payoff chorus is exactly as intense as you'd expect, although the synth riffing that was really wide in the ears wasn't my favorite. it gets really loud and hard to pick stuff out by the very end, but that's a bit to be expected given the scope of the track. it ends with a phase shift to some audio from a match, which is a bit of a letdown but i get the nostalgia concept. overall i found the cymbals to be super notched sounding and a bit shrill, especially when they were by themselves. additionally, in general, the voices had a lot of fundamental and needed a formant boost around 2.5khz to get them to pop out of the texture more. overall though i loved the arrangement - there's a lot of breadth to an original that's actually pretty straightforward. i appreciate the various ways that you keep it fresh over a 7:30+ long track. and overall i think the mix is pretty solid, it's just a few specific things i wish were different. definitely not enough to keep this back. YES

opens with a really big distorted bassline. there's a huge fat kick that comes in right away as well, and then we get down with the phatness at 0:20 when the backing elements come in. it gets pretty dense and messy quickly - i love the opening riff and the bassline once the track gets moving individually, but they're in the same register so it gets hard to hear everything clearly. it stays dense and progresses through the chord structure for a bit until we get to 1:21 and there's a bit of a break from the bassline. at 1:42 there's some stabs and the timing on several of them is off - it's notable right away with how regimented everything else has been. this is clearly in a pattern because the same timing issues come back several times. the mix gets very over-dense again around the 2:10 mark and it's hard to really hear anything by the end of it. 2:32 is the first real break we've had, and this is really needed as the track is so oppressively mixed (honestly fitting for a doom track!). 3:02 brings in another completely sick bass tone (seriously, you've got like four in this track that are so great), and then we get a recap of the opening section (not copypasta but fairly close). the track trucks along for over a minute doing mostly the same thing, and then suddenly drops off with no beat and meanders a bit before ending suddenly without any prep. i'm honestly pretty torn about this. on one hand, it's very over-dense and cluttered in several sections, and the timing thing at 1:42 is offputting immediately when you hear it. on the other hand, it's got some absolutely dynamite synth choices and i actually like how oppressively heavy the mixing is, as it fits the game without sounding bad - it's just super heavy, the kick especially. i'd like to hear from someone else before i call this one as i'm really on the fence about it. ? edit 3/20: i want more things to happen in this track, like kris said. there's a very static, blocky quality to it, and it's hard to judge this without seeing all of the crazy automation and fun things each of these big synths could do. but we don't judge on potential or how close we are to attaining that potential, we just judge on what we have in front of us. this is an aggressive, forward mix with unique synths and a punchy approach. what's here is over the bar. it ain't perfect, but that's ok. YES

opens with what i think is ~30 of a joke, and then gets into the actual arrangement, so i'll start from there. opens with an expanded version of the dark world dungeon. there's some nice passing of the initial four-note pattern initially, and then a highly interpretive version of the dark world dungeon theme. this more outlines the chord structure and references the main riffs than it does directly arrange it - there's a lot of the original in the cello for example, but not a lot in the leading voices. there's a rhythmic and dynamic resolution around 1:57, and it starts referencing the ascending arpeggio riff from the NES dungeon. the melodic line here is roughly the same shape as the original's melody line that eventually comes in, but it's certainly more inspired by than it is the original's material. there's some octaves here that i didn't really care for in the scoring, actually - i would have much preferred more fleshed-out chords, at least partially because it wasn't obvious to me why those notes were being emphasized with octaves. the third section starts at 3:12 with some really fun disjointed and differently-timed ascending patterns. the cello here is overpoweringly loud for at least the first 20s or so. there's some resolution elements and it's done. there is what i think is some unintentional phasing going on throughout. later edit: this is apparently endemic to the samples used per the remixer, so it isn't something that we can correct easily. i also don't really get the first 35s and wouldn't mind if it was just from the true start of the piece that we posted. that said, what's here is a really interpretive and interesting take on several dungeon themes. there's a lot of complex arrangement going on here, and it's well-performed. what's here is still over my bar for execution as it's enjoyable and has a lot of depth in the performance and arrangement. YES

wild original. it really goes all over the place. opens with some water sfx, and then we get the chips to get it moving. there's a lot of long-tail verb on this to my ear and it sounds pretty spacey as a result. as far as i can tell, the opening two minutes or so are mostly the same notes as the original, with new instruments and a few extra backing elements put in there. it isn't until the two minute mark that we get something that'd be considered to be really arrangement and not just instrumental replacement. there's some exploration of the arpeggio section that the original ends on at 2:30, and then it fades out. unfortunately i don't think there's near enough arrangement to consider this. i actually like a lot of the choices you made (admittedly not all of them) for instrumental replacements, and i think what you've got here is a lot more listenable than the original. however the vast majority of this is dave rogers's arrangement and the synths are pretty close to his choices too, which really doesn't get this past the 'cover' stage. i'd love to hear this with more intentionality in the arrangement throughout - instead of switching between sections because the original did, make it more of a musical approach where you're choosing what to emphasize and what to stick with. separately, i'd say that there's a lot of fleshing out of the backing elements throughout that this needs. since you're not limited to a few channels, i'd suggest you expand a lot more! there's a lot of meat on that bone in my opinion. i think what's here would be something that the cpc fan community would be into. unfortunately it just doesn't meet the arrangement requirements for our site. some changes could definitely raise it to that bar, but may move it further away from your artistic concept. so it's up to you how you'd want to proceed. i certainly hope though that you'd consider revising it to meet the submission standards though! NO

classic original. opens with some sfx and a screaming guitar riff. lots of verb on everything. bass has a really weird tone - the fundamental isn't the loudest element, so i'm guessing it's been layered with something to make it fuller (the distorted tone somehow isn't the only bass tone there?), or else a super-notched EQ. that opening section sounds very strange as a result. the petrucci-esque guitar that comes in right after is fun, and it's also super loud but the bass sounds better with it. it sounds like none of the instruments are in the same room - lead has a ton of verb on it, rhythm and bass don't, and drums have some arena long-tail verb on them. lead guitar riffs at 1:00 sound great. tom groove going into 1:29 sounds like a fill pattern that got reused a lot - doesn't really feel like a tom groove, although i like the idea. 1:29's drums are the same as the opening - guessing the chips are as well. i like the addition of strings that happens partway through this section. it adds a lot to the feel. 2:27's section is the same as 1:00 (backing is the same, lead is up an octave initially). that said, i love the escalating elements of this section, and it's easily the best part of the piece. the opening in the bass is enough for me to say no on this, and the subsequent reuse of drums throughout isn't a great thing either (although i do like most of your fills, they really feel nice and keep it rolling forward a lot). i'd love to hear some more variety in the drums and fills in the first half, so that the second half (which currently has a lot of repeated parts) can stay the way it is now. you may also want to consider unifying your verb throughout so that the instruments sound like they're more in the same area. this is a fun track! i don't think these tweaks would really take a long time to execute on, so hopefully we see you back soon. NO

when this came up ~18 months ago, i voted on this with primary criticisms being the balancing, frequency overload in the low mids, and the arrangement feeling meandering due to lack of dynamics. opens with the ghost castle arp and a ton of really fun sfx work. some very industrial stuff is going on pretty far away, and the title screen's surprisingly chromatic melodic line comes in at 0:29. it's neat how well that works among a very spare background. the riff at 0:47 goes on for a long time and gets a little tiresome fairly quickly (that synth's delay effect was cool in small doses but is irritating with longer lines, especially since it's in one ear hard). percussion drops a bit going into the textural shift at 1:16 - there's some new drums here as well, which are pretty hard to hear (especially the kick). the aquaduct arpeggio with the delay effect is back in the right ear and it's way louder than everything else. it gets toned back later which is good. this continues to wander around with the aquaduct theme in the front for a while. i found this section to be lacking in direction still. there's a simplification at 2:07 alongside a time signature shift, and we're back to just the kitchen sink effects alongside the ghost castle theme for a bit. this section is neat with some of the counterpoint between the melody and counterpoint, but it feels underbaked both because of how thin it is here as compared to the drums chiming merrily along, as well as because it's the same synths as most of the rest of the song at roughly the same volume. it's hard to pull out that this is more or less important than other sections. i still find the transition at 2:37 confusing as well - it really sounds like the song suddenly ends, and there's no real prep or anything set up to come out of it either. the synth work immediately following that break featured a few shifts that i found made it easier to pick out what was the most important. the texture here also feels more fleshed out. i didn't like that the lead instruments for this section were mostly in the right ear instead of centered. there's some fun stutter effects on the leads later on also that i liked. i don't think my opinion on this has changed yet. i still don't like the weird cut at 2:37, i still think the middle third drags, and i still think the lack of dynamics is a negative throughout. i don't remember the panned lead instruments before, but i find that to be irritating as well (i found myself turning my head regularly to the right to 'hear' the lead better) - in fact i think the piece is over-panned throughout. from an arrangement standpoint, i think that you would be well-served by being more intentional bringing out the melodic lines you're trying to have us trace. you've got three sources, and tbh i think they work really well next to each other, but with that comes an imperative to be very intentional about how you emphasize and define what's where without losing the general song-form structure that you're using. the story here isn't as clear as it should be, and a big part of that is that the natural ebb and flow of a track isn't here due to there being little dynamics. i'm fine with a track that doesn't have a clear melody, but what is melody should be cohesive and readily apparent, and that's not happening here right now. i do think you've fixed the mix a lot - i remember before the bass being totally overwhelming above everything else, and then all your instruments were very tightly mashed against each other. i think the bass is probably a bit overcorrected, but overall i found the mix to be passable aside from the panning stuff. my concerns are mainly with the song form and arrangement elements. i have a lot to say here and it probably sounds like i hate it. i don't! i think there's some really neat concepts here, and a lot of overlapping back-and-forth stuff that reminds me a lot of old-school remixes that i loved. i just...i got done with the full listen a few times and just didn't remember a thing that happened in the middle of the piece outside of that panned synth being so annoying. that's not a good thing given the interconnected nature of this remix. the track doesn't go anywhere for an extended period of time. i actually think this is a fairly straightforward fix - just cutting some cruft out of the middle and emphasizing your melody more via non-delayed leads is probably enough. NO

30 something years ago I spent many hours having fun with trackers on my Amiga 500, and last year I re-discovered the remix scene (mostly thanks to Allister Brimble and Matt Gray) and, searching for my old favorite game tunes, I couldn't find any Nebulus remix so I thought I'd give the original Dave Rogers music some love. This is the first 8bit VGM version I make and share. Even though I ran the original game in an emulator to rescue a few in-game sound FX, I got the WAV outputs of the three channels in the main tune using the Amstrad CPC Musics Ultimate Compilation by Megachur/Paradox ( https://www.cpc-power.com/index.php?page=detail&num=11166 ). Some original segments were split and processed on Audacity, and others directly on Renoise, where I did the composition, effects (principally stereo work, reverbs, compressors, some phasers and distortion) and mix. Around 60% of processed original tune sounds were incorporated, along with several percussion, bass and synth instruments to make harmony and beat more complex, and a few library elements for transitions and atmosphere. The original tune barely exceeds two minutes. Most of the additional minute in the remix happened just jamming, trying to develop a bit the fun-yet-relentless melody Rogers made for climbing those spinning towers against time. Games & Sources Nebulus was a well known game for both C64 and Amstrad CPC but the likely original, full main tune was composed by Dave Rogers for the CPC. The C64 tune was not credited, and a rather dull conversion sorted out by the Commodore lead dev himself, so the fun original track hasn't received much love in the remix scene. Here's a profile of composer Dave Rogers - https://gamefaqs.gamespot.com/games/credit/36495-dave-rogers And an Amstrad longplay video that starts with the full original tune I worked with.

This is my take on the track with a metal/guitar-driven focus. I recreated the chiptune elements myself from scratch to accompany the more modern guitar/bass/drum sound to blend the two eras. All guitars are performed by myself and I used the Neural Petrucci amp sim to transpose the rhythm guitars down by 10 steps to create a more 7/8-string guitar vibe, although everything was tracked on my 6-string. I felt as though that prominent bassline was crying out for a super low-tuned guitar sound and I think it came together nicely. I tweaked the timing a little to give it a bit more of a punchy staccato vibe which also lent itself well to guitar. I threw in some ad-libs to the arrangement, referencing the main theme of the game on guitar at times, with another cheeky reference at the end of the track that foreshadows the melody of the syndicate headquarters in the sequel to the game. Games & Sources Original track: "The Last Soul" (Round 8) from Streets of Rage 1, by Yuzo Koshiro.

opens with some filtered stutter synths. we get a lot more instruments at 0:14 - it gets pretty dense really quickly. a quick freq analysis sees a lot of sub-40hz content that's really clogging up the bottom of the mix. it also sounds like the hats are filtered alongside the arp - which means there's not much high content at all. so it sounds pretty condensed. dropping a significant highpass on the stuff below 40hz would be a big help. beyond that, the track is so compressed. it's very dense and oppressive. turning everything down a lot, getting volumes roughly where you want them before your compression and limiting, would be a big positive. there's a bit of a break with sfx at the 1:00 mark, and then we're back to a repeat of the first 30s of the full band sound. this is followed by another sfx break with some electro guitar in there to mix it up a bit (but the backing elements just repeat twice in a row), and then we're back to another repetition of 0:30-1:00...and, well, you get the picture. there's a lot of wholesale repetition that just gets tiring. something to change it up each time - even changing synths would help! - is really needed to avoid it just being repeated over and over again. better to repeat something once too few times than once too many. the same 30s of full band repeats like five or six times with various sfx around it until around 3:45 when the arp finally stops. the next several 16-bar sections involve the full band section repeating with various instruments added in or out, but it's the same thing overall. it repeats a few more time and then it's done with a kind of weird pitch as a final note. there's some audible static as well that just drops after a few seconds. overall i like the concept - 90s house is a specific vibe and i think that SoR would fit that a lot. what's here though is maybe one minute of material stretched over five. i know that house can be repetitious, but there's loads of examples of keeping the overall feel moving consistently by using instruments that have natural change over time. this just sounds like the same 30s repeated at least ten times, with a few breaks for sfx that also have similar backing elements. i'd suggest trimming the length way back and finding ways to never say the same thing twice the same way. add a new instrument, change a synth, use a different drum fill, etc. - it's going to add a ton to the overall package. NO

as always, thank you for a clear source breakdown. opening starts with the title theme with a variety of transitional sweeps layered in. we start to get a beat at 0:36 and it picks up from there. this entire opening section feels pretty dull with the instrument choices - there's not much sparkle in any of them for them all being EP-like, and the kick is kind of blah - but we get some pop at 0:54 when the melody comes in. i love the time signature goofiness - the 7/8 section is absolutely the right choice there. 1:27 tones it back down again. there's a surprising amount of sustains that kind of just sit there (really expected to hear some blurbs to keep it moving through that), and the overall texture is still pretty dull outside of the sweeps. i felt like that past the 2 minute mark until about 2:10 when we started getting more percussive elements coming in and more brighter synths, and then again was in a happy place at 2:25 with the melodic material back in. this trucks through the melody of both tracks, and then it's done. the ending is a little abrupt but fits the style. this track does a fantastic job of saying "wait just a bit longer for the part you want", and then it's there and it's great, and then the track's done and i'm putting it on again. this is a great compositional technique - always repeat one less time rather than one extra time! - and when the track pops, it really pops. i think you do a great job taking a track that's kind of already in your style and making it unique and yours without copying what made it good originally. nice work. YES

if this is a brand-new project, i don't know if it counts as a resubmission. opens with some organ outlining the chords and the opening melodic line. there's a stutter synth here that doesn't really fit the organ and voices, but then an edm beat comes in so it makes more sense. beat feels pretty cluttered - the snare has a lot of low content, kick feels unfocused, there's several low synths in this section, and the fills feel like they're layered on top instead of being different things the drums are doing. 0:27 has the melodic content come in for the first time in full. i really don't care for this lead as it's very occluded and hard to hear what it's doing. i do like the call and response concept that's going on there though! there's a break right after this for a bit, and then we get a new lead at 0:55. and then another new synth bass at 1:09, and another new lead at 1:23! it's a lot of change in a short period of time. it's ok to lean on one tone to help to tie sections together - this feels a little too bouncy between ideas (although i like the ascending arp a lot, and the 404 bassline that's right after it). there also continues to be a lot of drum fills that are complex and dense, and a little less there might be ok - a few well-timed tom hits are better than the same complex fill over and over. there's a break at 1:47 - and then a bigger break at 2:02, with some sound design on the transition. this goes into an outro that repeats the opening idea, and it's done. after hearing it, i'm remembering this one from when i voted on it in 2022 (and several times before). i think you've got a lot better overall sound quality than you did last submission! i'd like to see more cohesiveness from section to section, a few of the more complex leads reined in, and a lot more work on the drums - less of the same big complex fills and more intentionality about what it's doing. NO

all five previous submissions most recent rejection It has been some time since I have taken a crack at this track. This one is a brand new project, and I tried to use some of what I learned on my Twisted Systerz submission. It's the first walkabout theme from Dragon Warrior 2. I give thanks for the time and consideration ahead of time:) Games & Sources