Liontamer   Judges ⚖️

Not the worst samples in the world for a quick mockup, Hupusu, but sending a 26-second ringtone isn't a fully developed arrangement by any stretch. :-D If interested, develop it into a full arrangement and see what you can do about improving the instrumentation quality. For being a quick hit of the theme, it's a nice genre transformation. Hit the Workshop forums and our Discord if you're genuinely curious at making complete songs. NO

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Thanks! I've found a current link for the project at https://archive.cavestory.org/csrp/, so I've replaced the link with that. It should correct itself on the site in the next few hours.

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Cool instrumentation choices. If you can get it sounding more fluid/humanized, the concept has legs. :-)

I've never heard the previous two versions, so I'm visiting this sub with fresh ears. I also voted on the revised version Seth included in his comments after he said he noticed the mixing was wrong. Opens up with a rise in volume of a pad, followed by some basic synths and claps at :13. The theme arrives at :25 and there's some decent density to start. The theme's there, but this is texturally scant despite all this volume. Volume doesn't equal fullness in terms of the writing; right now, the beats sound really barebones. Hits the chorus at :55 and there's countermelodic supporting writing until 1:22 that sounds off-key, though it's relatively quiet. The melody's quietly brought in from 1:36-1:47 in a way that also sounds sluggish and off-key, like it's being chorused or delayed; not sure what's going on there. Once it hit the chorus from :54-1:22, the interpretation of the source melody itself felt very minimal and straightforward. This combination of sounds doesn't make sense when the percussion, beats, and bass are so minimalist and basic, yet it's surrounded by this busy-sounding yet off-key ornamentation underneath the melody. 1:49 transitions into what's seemingly an all-original composition section where the volume's loud while the texture feels very basic. More off-key supporting writing underneath the melody from 2:18-2:46 that sounds pretty bad on headphones but might not stand out as much on monitors; this writing sounds like it's meant to be doubling the lead, but it sounds clashing the whole way through. I grew up on this theme, but I'm sorry if I'm not recognizing something taken directly from the theme from 1:49-2:18; I couldn't make out any connection. From 2:18-on, I don't recognize that stuff from the source tune either, but it's possible it's taken from some sort of quitter supporting writing in the source or I'm just ignorant in recognizing some sort of interpretation. The source melody could bear more interpretation and/or variation, the beat-writing is too simplistic, the beats do have some weight to the sound, yet they don't fill the soundscape enough to not let the overall track seem thin, and the densest section are filled with off-key writing adding noise instead of substance. The less dense sections work better on account of the lack of clashing background writing and are, arguably, the track's best feature, yet those sections *still* feel texturally empty, so it's a tough approach to get this to a place where it could rise above the bar here. (I see you in the community, so the links are more for posterity and for others who may see this feedback and want to take part). That said, Seth, Audiomancer tried 10 separate times with one track before his debut mixpost, so if you have the sticktuitiveness to regularly use the community resources on the Workshop forums and on the Discord server for more feedback and guidance, maybe you can be another success story. NO

It'll seem like I disliked the piece when I mainly hear lots of unrealized potential. This was texturally empty, just way too thin and simplistic, which was unfortunate after a very promising intro with a cool sound. The volume of the elements in play doesn't make up for the relative lack of complexity here. Finally some beats come in at 1:26 to thicken things up more, but the part-writing is very straightforward and lacks that next level of sophistication. prophetik said maybe there's not enough arrangement, and I get where he's coming from, but he's mistaken in how he attempted to articulate the issue. This is presented in a melodically straightforward manner, and that's fine. What was missing here was more complexity in the accompanying parts and more creativity in the sound design. This is already going in the right direction in terms of different instrumentation and different sound design, the combination of which does help this stand apart from the feel of the original, but clearly not enough yet based on prophetik's reaction. But this sounds like a work-in-progress, not a fully developed and finished piece. Something like Charlie Atom's "Toriel's Pain" isn't where our bar has to be, but it's a great example of a melodically straightforward rendition with way more attention paid to the detail work of supporting writing that adequately fills in the textures, and killer sound design. That's not the bar, but it's a genuine North Star. This is a solid start, Noga, but it still needs more writing complexity behind the melody and other sound design ideas to further personalize your take. Even if you don't end up reworking this one, you can definitely be proud of how far you've come with this. There's a lot of untapped potential though, so hopefully you keep developing your craft. If you haven't already, consider joining our Discord for more feedback and/or using our Workshop forum resources. NO (resubmit)

Oh wow, all the years I've heard EarthBound's music, I don't think I've ever listened to this one. Didn't recognize it, but it's a nice piece! This arrangement in an of itself feels like original game music when it comes to the overall sound quality and fidelity, like late-stage SNES soundtrack music from a different palette than EarthBound. By going this route though, lots of humanization, expressiveness, and production options were sacrificed. SNES vibes aside, the opening sounds still feel super basic and vanilla, but it's potentially all in how you use these sounds, so we'll see how that plays out. The timing of beats feels very locked to grid with a plodding core pattern (:01-:57, 1:38-2:17). The first verse at :17 the leads felt relatively lively despite being programmed in, but the overall sound is very silted, there's not really any getting around that. Organ at 1:06 was very flimsy-sounding, but it's meant to sound more stylized. I don't know music theory, and my ears aren't primed to pick out wrong notes, but, unlike prophetik, I didn't a single thing that stood out as bad/wrong notes, I just heard supporting writing lacking direction and synergy (e.g. :34-:49, 1:54-2:09). Machine gun drum kicks from 2:24-2:25 that are fleeting but do sound low-quality. The arrangement does go for a more upbeat feel but when prophetik said "what most of the instruments are saying is bland or looped a lot - like the drum patterns and backing organ", that's correct to me, and I'll go back to the stilted timing and plodding beats. It's cool for a chiptune aesthetic, but it also feels very limited instrumentally. I've heard fan-made 8- and 16-bit-style chiptunes and MIDIs all sound more fluid and expressive than this, so I'd have to see something like that done here. The goal seems to be to stick to SNES soundtrack-level sophistication, which is fine, it just falls outside of our production standards, IMO. There's good potential in your music-making as long as you keep at it, Rhino. NO

Great source tune choice, ripe for expansion. Vanilla-sounding synth to open things up, but obviously a stylized approach, so let's see where it goes. Melody arrives at :17, and the overall textures are basic but reasonably full, with the caveat being that it ought to further flesh out, IMO. Sampled amen break drums are brought in at :58 and those seem like a square peg in a round hole, but I'll live. Some added beats come in at 1:27 and this is definitely fuller, though melodically this is already very repetitive. 1:59 dropped out the lead and just had the countermelody with beat accompaniment, which was a good direction to create some contrast. Then 2:32 continues with a skeletal progression plus beats before finally getting back to the source melody on lead at 3:04, which feels like a cut-and-paste once the beats returned at 3:12. An addition to the beats at 3:32 for some more movement underneath. At 4:01, there was another countermelodic line added to the melody, but despite that I still literally said out loud "Enough already!" with this lead. If you're not going to vary up the melodic presentation, that's OK, but I'd argue at least vary up the instrumentation of the lead and/or countermelody lines more often to keep the overall feel from sounding too static. Even though the textural changes are a good idea, I'm still fatigued from the leading elements sounding the same practically the whole way and a relatively slower pace. This is a great start, Bionic! I'm interested to hear what the other Js think; I think from a genre transformation perspective, this is a pretty solid result, but it needs more sophistication and variation with the leads and sound design to really be strong and not drag out over time. NO (resubmit)

Artist Name: Azina As far as arrangements go, this begins with only small shifts. Fae-like playful piano accents electric guitar performing the harmonic structure typically played on piano. This continues until the second loop where a heartbeat rhythm is established in the low end, and choir-esk vocals underpin the now gently distorted main melody. The piece ends with a demure "victory theme" of my own making. Games & Sources The Legend of Zelda: Twilight Princess https://en.wikipedia.org/wiki/Toru_Minegishi Link to the composer; apparently he's the one who composed the gamecube startup sound. Oh, it just embeds here, I didn't think it would do that