ReMix:The Legend of Zelda: Majora's Mask "Eclipse Apocalypse" 2:19

"Caling the Four Giants" is pretty much an iconic source from LoZ:MM, so it's cool to hear it done in such way. It's really epic. Whenever I see the word "dubstep" in the description, I usually prepare myself for dirty, in-your-face music, but this is very different - it's much more melodic, without jaw-dropping breakdowns and such, but still very pleasant. Love the piano section @ 1:05 a lot - what a wondeful touch! Sick song.

I've been an OC remix fan and lurker for 11+ years and I've never written a review until now. This mix was so incredible I couldn't remain silent. The layers are powerful, the MM samples are well placed, and just when you expect more, it comes to an end. Which I hate, but I love at the same time. The mix concludes when I'm craving more and does an excellent job at drawing me back in. I've listened to this track many times and I don't expect to stop any time soon. This, for me, is perfection.

I am totally getting the feeling that this song is "epic and dynamic," just as bluestraks was aiming for. I've hit the play button at least six times (including the first) and I never hear the exact same song twice. As I listen to it again for a seventh time, I finally notice a Navi sparkle sound effect at 0:11 for the first time, not to mention that there is just so much going on that I notice and focus on different sections each time because my focus can't handle the whole thing at once.

Amazing track almost completely ruined by OTT loudness-oriented mastering, completely destroying the dynamics necessary to really carry this track into the level of energy that it needs.

This is actually not mastered that loudly since the mixing is so murky. The less treble you perceive, the quieter something usually seems. Think about when you stood outside a room trying to hear music inside the room playing at a normal volume with the door already closed. Sounds dull, right? Something like this at 0:48 is much louder, so this ReMix wasn't mastered with the goal of being loud, and you don't have to flip tables over loudness.

Amazing track almost completely ruined by OTT loudness-oriented mastering, completely destroying the dynamics necessary to really carry this track into the level of energy that it needs.

I love this song! Been listening to it a couple of times in a row to memorize it so my brain can play it back later. My favorite part is between 1:01 and 1:58. This is the kind of sound i would like to be able to produce one day, still a lot of learning to do though. Great work!

I actually think that's why I never do anything anymore, my ears hate what comes out of my speakers, lol

Man, this arrangement is crushing; sort of like the world is being chiseled away piece by piece and there's not a thing you can do about it, but you're going to try. I love it.

Hey everyone. I'm Sean, one of the brothers of Blue Streaks. I really appreciate the support.

A few comments.

1. I wanted it to be short, to the point, and constantly interesting. I didn't want to repeat things just for the sake of making it longer, and I think the variation in here is enough to keep you entertained, hopefully.

2. This wasn't meant to be dubstep. I know some people on OCR tend not to like dubstep, but this was just supposed to be epic and dynamic.

3. I don't know why anybody would "feel really strongly" about the sampling, but I'm sorry if you can't enjoy the piece because of it. I think we really did more than add drum loops (which we didn't). We actually make a lot of our sounds from scratch, too. Guess we'll just try to write something else soon to win your support

I'm SO happy to see this posted up here. I love this website and video game music.

Glad you're going to keep going. Actually, the sampling doesn't affect enjoyment (or mine); it's just a caveat in the site submission standards, so it's something that is looked into whenever a case like this comes up. Sampling too much may sound like copyright infringement to those "automatic song identifiers" on YouTube perhaps (), but it's more about the personalization you can put into writing something from mostly scratch, from my perspective.

Hey everyone. I'm Sean, one of the brothers of Blue Streaks. I really appreciate the support.

A few comments.

1. I wanted it to be short, to the point, and constantly interesting. I didn't want to repeat things just for the sake of making it longer, and I think the variation in here is enough to keep you entertained, hopefully.

2. This wasn't meant to be dubstep. I know some people on OCR tend not to like dubstep, but this was just supposed to be epic and dynamic.

3. I don't know why anybody would "feel really strongly" about the sampling, but I'm sorry if you can't enjoy the piece because of it. I think we really did more than add drum loops (which we didn't). We actually make a lot of our sounds from scratch, too. Guess we'll just try to write something else soon to win your support

I'm SO happy to see this posted up here. I love this website and video game music.

Re-emphasis:

This mix goes way beyond just adding drum loops. Using the original audio isn't explicitly prohibited; historically such mixes almost never pass for other reasons. The modifications made to the original source are substantial here: lots of added instruments that significantly change the sound, feel, and genre.

I agree that the judges all seem to have missed this--it should have gotten a mention in the judgment thread--but it's not an autofail on those grounds IMHO.

Yep, those lazy Js should have noticed that direct sampling and pointed it out. That said, you're right that it's not a standards violation. You're allowed to directly sample the original audio, but on an arrangement level, the modifications made to it have to be substantial. Dj CUTMAN's MiG-29 mix (http://ocremix.org/remix/OCR02882) is an even better example of a heavy-direct sampling approach that nonetheless works on an interpretive arrangement level.

In this case, I wouldn't object to a judge NOing on the changes for this mix not being enough in the big picture, but I also don't have a problem with anyone going YES or I would have challenged it.

While I LOVE this, I'm not too sure I could sound off on this, because unless my ears are playing tricks on me, this does not follow standards explicitly.

Re-emphasis:

Taking the original game audio and simply adding drum loops or using an existing MIDI file and assigning new instruments does not qualify as substantial or original arrangement.

I agree that the judges all seem to have missed this--it should have gotten a mention in the judgment thread--but it's not an autofail on those grounds IMHO.

While I LOVE this, I'm not too sure I could sound off on this, because unless my ears are playing tricks on me, this does not follow standards explicitly.

It's one of the bad things about being a musicphile, unfortunately.

http://ocremix.org/info/Submission_Standards_and_Instructions 4-2b states:

Taking the original game audio and simply adding drum loops or using an existing MIDI file and assigning new instruments does not qualify as substantial or original arrangement.

Whereas it is not THAT extreme, my ears have nevertheless picked out some nuances. I have bolded the relevant part. I have compared the original to the remix, and the backing in the ReMix has the same exact timbres as the original does. While it is awesome, I would have went "NO, resub" based on the fact that it uses the in-game track, sampled excessively.

I agree that it does completely awesome things OVER it.

No idea why the judges didn't pick up on that. and I've never felt so strongly about this either.

What a fantastic sound, what a fantastic arrangement. I love the combo of lofified mellotron-esque chords bubbling chippy synths, but there's just a lot to love here in terms of sound. I also very much appreciate the brevity, everything is packed into a perfect length and I can't imagine more that wouldn't be less. I can always press play again.

(wooooo renoiseeeee)

I agree with Will that the production is rather odd, but it's cool hearing something this murky still sounding quite good. It keeps things from sounding too abrasive, but at the same time, there's that single-voiced center-panned bass gluing the piece together. The piano was well-written too. Very deliberate notes.