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@Gario, in his own words in a remix thread in the workshop: How horrible. It got me wondering what methods and procedures the judges use when judging. Do you use the resub tag, when, when not, why, why not? When do you say conditional and when do you say resub? What are your dealbreakers? What if there are random fart noises in the middle of an otherwise excellent track? Larry has his stopwatching and 50% standard for assessing source content. What else do you guys have? Similar to our meet the evaluators, can we have a meet the judges thread?

Not a judge anymore but when I was a disgusting monster known as a jooj, if I felt if the track had potential, I'd add the resub tag. Its for those mixes that have potential to be mixposts but in their current form don't quite make the cut. Its not like Conditional where we're talking like 1 small update required, it might need a bit of fixing, but not enough where it would need a complete overhaul to be posted. The idea is that if you send a resub track to a judge, they will fast track it on the queue for you. However if something is really quite far from the standards and would require big updates to be postable we'd just slap it with a big phat nope.

Would be nice indeed! Now that a few tracks of mine passed the panel, and having thoroughly read the evals, I think I have a decent sense of how the individual judges do their thing, and also what things they will typically point out. I could list my findings here, but it would be better to hear it from the folks themselves Oh, and compliments on the excellent clickbait title

If anyone is up for it, I'd gladly lend my vocals to the mix as well. I have no problems doing so!

Wow, this is great! "Digging into Memories" really fits the song, too. This'll be an easy "yes" for the judges, I think. Looking forward to seeing it on the front page!

Thank you so much! I have a ton of stuff to explore! This is awesome! I really appreciate the time you took to do this for me! I've been practicing the major scales and am just starting to look at chords in more detail. This will help a lot! @Dextastic Thank you for the links! I'll check them out! I think I've heard of the Sonatina Orchestra. I love this community. I have gotten so much help in the past 18 hours, I don't know where to start! I'm so excited!

Soundcloud link OK? I made this in like an hour and a half so it's short and basic but hey, it's a start. Haven't played Suikoden 2 but I look forward to whatever the next MnP competition is.

@Silverpool So I'll try to provide a bit of an explanation and link to some resources. You're a pianist, so that will make things much easier to explain. I assume you know the notes on the instrument? Here is a chart. • So all of the white keys, going from C to B, form the "C Major Scale". This gives you 7 notes to work with. A distance of two tones, counting the black keys too, is a "whole tone" or "whole step"; a distance of only one key between notes is called a "semi tone" or "half step." Since "C" is what we're using as the basis to create the scale, we will refer to C as the "tonic" or "root" note. Notice that between E & F as well as B & C, there is only a half step but no "sharp" black key. As such, there is no B sharp or E sharp. The distance between two notes is referred to as an "interval". • The formula to create the major scale, in any key, starting from the root note, is: Whole step - whole step - half step - whole step - whole step - whole step • Starting from any note you choose on the keyboard, this formula will give you the major scale for that key. • Now, if you count three keys down from the "root note" of your major scale, you will get the minor equivalent. In the case of C Major, counting three keys down, the note is "A". So, all of the same notes as the Major scale, but instead is "minor". It has a different sound, trying playing all white keys from C to the next C note; then, try playing all white keys from an A note to the next A note, and you will hear the difference in sound. Congratulations, you now know the musical scale used to create ostensibly all of western music! But why is one major and the other minor, you ask? The answer has to do with "triads" (three-note chords) that can be built from the "root" of the scale. To form a "major triad", start from your root note, and count up four keys. This will give you the "third" interval of your root note; a "major third" specifically. From this major third, count up 3 more keys, and you will get the "fifth" of the root note. In C, this gives us C, E and G. To form a "minor triad", start from your root note, and count up 3 keys. This will give you the "minor third" interval of your root note. From this "minor third", count up 4 more keys to get the fifth of your root note. In "A", this gives us A, C, and E — an "A minor chord." So, you count "4 - 3" to form a major triad, and "3 - 4" to form a minor triad. Easy, right? • If we apply this formula to all of the notes available to us in the scale, we can form 7 basic triads. Starting with the root in C Major, we get: C Major, D Minor, E Minor, F Major, G Major, A Minor. You will notice that this is only six triads. The reason that the B triad is omitted, is because it is a "diminished" chord. If you use the counting formula, you will notice that F# is the fifth of B and NOT simply F. F is a half step lower; a fifth that has been lowered by a semi tone is considered "diminished" and a diminished triad sounds "dissonant" or unstable. • Melodies, the "tune" of the song, are constructed from the scale as well. To harmonize a melody, all one must do is match the notes of the melody to chords they belong in. For example, a melody note of "C", in C Major scale, could be part of a C major triad, an A Minor triad, or an F Major triad, as the C note is present in all of them. To practice this, try coming up with a simple melody using only quarter or half notes. For each note you play, play a matching chord with your left hand. The practice of changing chords to a specific rhythm, is called a "chord progression" and certain chords "prefer" to move to certain other chords. • Once you are comfortable with this, you can move onto more advanced subjects. Including: Creating basic chord progressions Using notes not found in the current chord in your melodies The harmonic series, or why you should use wider intervals in the lower register and closer intervals in the higher register. How to smoothly change chords by using "inversions" (the notes of the triad played in a different order) Extended chords and harmonies created by combining different intervals to create more complex chords The seven church modes and how harmony works when "fifth" and "fourth" intervals are stacked to create chords instead of thirds. Hope this helps!