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hello ! in 2017, I've worked on the MUSHA Aleste soundtrack, to make covers of this awesomes 16 bits metal pieces ! I played this game when I was 15/16 years hold and I was subjugated by his metal soundtrack with a lot of nice melodies and strongs rythm guitars. I've made midifiles from the emulators vgm files and I'haved try to performed, recorded all parts as close as the original source of the 10 songs from the game between "Theme of Musha" (intro) to "For the Love Of..." (credit) So, I'm proud to present my MUSHA ALeste Covers Album ! you can listen and download (for free) this album on my bandcamp channel: https://jmabate.bandcamp.com/album/musha-aleste-ost-cover you can also watching my guitar playthrough on my youtube channel : I hope you will enjoy this covers as I taked to covered them and I want to thanks Mr Toshiaki Sakoda (composer) for this master piece. I love it so much I wanted to give it a tribute as best as I can. thank you Abate jean marc

This is so good. I had to stop what I was doing at work so I could actively listen. I feel like I need to hear it again.

Yeah, the tail of the reverb cut out, so that's a mandatory fix. And the ending in general was indeed disappointing. Otherwise, this is pretty much exactly what one would expect from Andrew under a time constraint: nothing groundbreaking but fun and competent. Not thrilled with the name--had to read it 3 times before I could tell it wasn't just the name of the source--but it'll do. YES/CONDITIONAL (on letting the tail fully fade out)

- ReMixer name: ANTOX - Real name: Anthony Nemer - Email address: - Website: https://soundcloud.com/anthonynemer/tracks - User id: 18006 - Name of game arranged: Final Fantasy VII - Name of arrangement: JENOVA's Witness - Name of individual song(s) arranged: J-E-N-O-V-A - Additional information about game including composer, system, etc. Final Fantasy VII by Nobuo Uematsu for PlayStation I was inspired by New Age music from the 90s, mainly Enigma for the beats with a blend of Synthwave. Many thanks!

just stamping this one in. i agree completely with the last three votes in that it's a great concept, and a fun arrangement, and ultimately too muddy. 2:20's intro of the choir pad is where it really goes off the rails. there's simply too much going on in the same range. i am really looking forward to this coming back with more aural separation. that's the only thing holding it back for me. opening up your max beyond -3db and doing some grunt work with your EQ and gain will really make this an easy vote. NO

Agreed with Gario and Rexy. The arrangement is pretty cool, but the soundscape starts off a bit on the muddy side and gets more severe as it goes on. By the end the bass backing is almost a wash of white noise. I did feel like the original writing from 2:00-2:15 was a bit odd. It's much brighter in tone than the rest of the remix, so for me it breaks the flow. This is just my personal preference, though. The issue holding it back is the mixing. NO (resubmit)

Ooh, I sense that Enigma inspiration! I hear "Sadeness (Part 1)" on the radio occasionally, and that similar groove made me latch onto the idea immediately. It does feel interesting to see the fast-paced nature of this source applied to a more downtempo and electronic feel. The opening pattern of 8 notes also works as an effective arpeggio - whether solo, running alongside the melody, or even as part of the brief F minor breakdown starting at 2:10. The source material has a lot of ideas going on, but this mix needed just the arpeggio and melody A - using them in a modest framework adding more layers with each repetition. These layers are something as simple as changing the hi-hats to a 16-beat pattern (1:20) to adding more pads over time and introducing a countermelody near the end (3:05). It's a mellow adaptation that works well, so sweet going there. However, this is also one of those tracks where I feel needs more work regarding its mixing. As more layers get added in each repetition, the smashed dynamics got worse, and it becomes much harder to hear the main melody. It's most problematic under the additional pads and the countermelody as mentioned earlier past the 3-minute mark. There are many ways to fix this within another mixdown, however. Examples are EQ separation, transposing the lead or some of your pads, and weakening the limiter by just a touch. All of these are possible solutions that I can suggest to achieve a less cluttered mix. On its own, it's one of the most unorthodox Jenova arrangements I have heard in a long time. But I'd love for you to clear up the mixing and send it back. It's a close call, but I'm all for hearing this on the front page soon. NO (resubmit)

Ah yes, the single greatest title that I've ever seen for a remix thus far. I would LOVE to see this posted on those grounds alone. However, I do need to question the mixing on this track throughout. The lead is often buried behind the rest of the arrangement (an issue that actually gets worse as the arrangement gets more dense as it progresses), and as the track gets more dense the mix more and more crowded/muddy. As much as I like how the vanilla synths were handled in general, the mixing is indiscriminate (with the textures often overtaking the leads, an example of which can be heard at 0:40), and the resulting soundscape is too muddy. I like this track otherwise, but in order for me to pass this the track needs another pass on the mixing. The textures need to have their levels adjusted so they don't overtake the leads (or the leads should be in a different register so that they're not fighting for the same sonic space), and the pads that all fight for the same space must be either mixed down or made to be less dense, just so the arrangement has some room to breath. Fun track, great title, but I don't think this one is there yet. I do hope to hear this one come back soon, though! NO

The sound design's not very sophisticated, but the tools are used effectively. Opening synths were pretty cool. Enigma/Streets of Rage style beat came in at :19, with a basic synth lead at :39 and some decent ear candy behind providing countermelody. Beat shifted a little at 1:19 for a good subtle change in the energy. The overall textures have been basic but arguably effective albeit subdued. The track's pretty low-key throughout, but there's nothing wrong with that. Interesting rhythmic change-up at 1:59, and I liked the shift into the EP at 2:09. At 2:19 you have the melody come back, only things are even busier and darker-sounding behind the lead. Weird shift in the beats at 2:59 very briefly, but things quickly reoriented, with some straightforward but well-integrated original writing combining with the source and continuing to vary the textures until the end. Overall, this of course presents a different energy than the original, since there's no driving beat behind this, and you have a slower tempo and darker sound. One could argue there's not enough development or dynamic contrast, but I felt there was within a purposefully narrower dynamic curve. Having the melody vary more would have been nice, but the structure here is all about building different textures around the lead serving as a constant; that's a valid approach I respect. Solid work, Anthony. EDIT (7/19): Just noting that I've re-listened in light of the three NO votes, but the mixing criticisms brought up don't affect my vote. IMO, the suggestions they've brought up would be nice to have, but I didn't feel the parts bled together too much and I didn't have a problem distinctly hearing the lead (or other parts) even though the surrounding elements got louder at times. As long as the part-writing's distinct enough to be made out, I'm not bothered by the balance being unorthodox. YES

This track is an excellent treatment for a 10-second loop! The combination of retro and modern synths sound clear and engaging, there's a healthy balance to all instruments, and no doubt the source material is present almost all of the way through. That simple melody has also been altered and twisted in so many ways that the only way to make a case against repetition is to dissect the track part by part. Obviously, no set of 8 bars in the chiptune intro (0:00-0:48) are identical, with the first four variations building things up slowly - drums and backing melody, a more active bassline, harmonies, then the fifth repetition had the source material mostly played straight with the drums and bass muted for the last two bars. 0:48-1:07 has the groove's foundation with the more modernized synth work coming in, with this measure of 16 bars having the first half dedicated to the melody repeating the first four bars of the source before doing the entire thing in the second half. Also, that same melody has harmonies riding over the top. 1:07-1:26 has the harmonies of the previous section replaced with a new original melody riding over the top, and the percussion has an additional meatier hi-hat over the top of the previously established beat. 1:26-1:45 has the bass changed back to the triangle wave as heard in the intro, the secondary melody part has changed to a sweeping arpeggio, and the beat has open hi-hats brought in. 1:45-2:05 has the melody restored to the variant as already heard in the intro, with a cool call-and-response between solo voice and harmonies. The bass is back to what it was in the central groove, but the drums instead were changed to a break to add tension for the next segment. At 2:05-2:24, the melody is almost entirely new with only the last beat of the fourth and eighth bars mirroring the source material. It's the only segment in the track that is like that. 2:24-3:02 sounds almost just like the 0:48-1:26 section before it, but there are a couple of subtle changes. The fill at 2:42 is a new addition that relies on open hi-hats to segue to the melody part, and the harmonies had extended over to the second half of the section rather than staying with the first. And of course, 3:02-3:23 has the previous part, but with the backing rhythm muted and the drums calming down for the ending. From what I've witnessed, I can conclude that no two variants of the theme are indeed identical and it's all of these details together that have proven the source material has had a substantial amount of arrangement. Combined with the robust framework and clean production, it's one I can easily see on the front page - so good job with handling something so short! YES