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This weeks guest is a returning one, Daniel Lindholm, A Freelancing composer known for work in the Yakuza Series, Street Fighter V AE, Resident Evil 6 and more. Daniel visits my home during his visits in Sweden, to sit down in the kitchen and talk about his three latest indie games that he have been scoring, Fallen City Brawl, Danlab's Golf and The Port of Jumanah. We're talking about action movies, motifs, martial arts and the stealing of music.   Episode is available on Spotify and I've recently also added the podcast to YouTube, feel free to follow or subscribe to places you prefer to listen to podcast! YouTube: https://www.youtube.com/@GameableAudio With this I'm also going in a small Hiatus during December, all to recoup myself and my upcoming unemployment, Gameable Audio will be back on the 13th of January, 2025 (With exception for Episode 47 with David Wise, which is still in mixing, it will release as soon as I have time to edit it)

Seven sources AND it's a remix of a remix.... uh, ok!  Since I don't know this OST well (I know, shame on me, I have no excuse!), and Brad and Larry have already voted, I'm just going to vote on the mix itself. I also didn't like the suffocated vocoded vocals at 0:33, (and again at 5:18) but when the real vocals come in, they are clean and clear, perhaps too clean though.  I think adding some more processing to the vocals would be good, not to mutilate them but to make them mesh with the soundscape better.   I think this arrangement is really ambitious and cool.  The instrumentation is good, the strings sound full and well sequenced, and I like the orchestral sounds against the guitars and synths, and there are tons of little glitches and fun ear candy.  The guitar bits are performed well and so are the vocals.  The arrangement is great, super creative and fun. I completely agree with Larry though, regarding the production.  That clap is comically bad, so simple and dry.  The drums overall are mixed way too quietly.  The vocals could definitely be louder in the mix, and there's a low-heavy feel to the midrange instruments giving the overall soundscape an unnecessary boomy sound (those elements need their lows tamed with EQ), while the bass itself is too quiet in the mix.  The vocals (especially the male vocal) have too much low end presence (example, "you" at 1:18 sounds way boomy).  This mix could definitely use another balancing/mixing pass.  And the piano sounds too stiff and gridlocked, needs a bit of humanization. I don't hear or see the final limiter going nuts as Brad does.  I don't see any clipping in Cubase or on SPAN (remember to turn off "true peak" if using SPAN, and if Audacity has that parameter turn it off) and I do not hear overcompression, but I do hear the master is doing some unwanted pumping whenever the kick hits.  I don't hear any sidechaining in this mix, and sidechaining (at the very least, of the heavy/low elements like bass, deep strings and pads) would clear up room in the soundscape and reduce the heavy load when each kick hit happens, which will reduce the burden on the final limiter and eliminate that pumpy thing happening in the master.  (fast attack and release on the sidechain compressors, 3-ish db gain reduction, ratio of 2:1... keep it subtle but that will really clean things up in conjunction with some EQ on the low ends of things) I was actually planning to pass this even with mixing flaws but reading back what I wrote I don't think I can pass it in good conscience after having said all that.  I love this though, and it will be an easy pass for me when the mixing/balancing/master have been improved! NO (please resubmit)    

This one, Arena, and Nanman are forever part of my DNA. Very cool medley here.

Wow, talk about making my day! Played more DW3 than many other games on the PS2 and, yep, this source is a forever tune in my head. Loved that keytar! Thanks mixers, this is fantastic!

opens with some percussion. the loop points are pretty noticeable with the first percussive element. it's super bassy and very wet to start, and there's a few harmonics (around 3.1k) that are hard to listen to in that opening section. bass comes in with the melody at 0:20 and it's just a massive blob of mass between about 45 and 200hz: it's very dense in here, and it feels pretty slammed especially in the left ear which is louder than the left. melody's in a percussive instrument, but it honestly sounds like there's more delay or verb response than there is melody. it's hard to hear where the attack is in the melodic instrument. as i listened to this opening section a bit more, i realized that i think that the original's playing real-time behind the added elements like synth, guitar, and effecting (just start the original's youtube at like 30s in). i think it's being chopped up and looped, but i think that's why it's so dense-sounding. the instrumentation elements are playing exact matches from what i can hear. we don't disallow sampling the original in remixes that we post, but we do require arrangement that is transformative. this is quite literally just the original audio with a small number of additional elements layered on top and a really, really bass-heavy master complete with huge reverb added to the entire thing. not only does not this not pass muster on the engineering side with the mix being so dense and boomy and most attacks not being able to be heard, it also doesn't pass on the arrangement side given that the arrangement is essentially not yours throughout. this isn't something that we'd be able to accept. if you wanted to rework it to feature your own instruments, and focus more on the arrangement (since there's essentially no personalization here), then that's something that we can work with. this isn't even a cover, though, it's the original track with something on it to discourage copyright detection.     NO OVERRIDE