Liontamer

Aritst: Michael Hudak This is a "strange" song from Mario Kart 64. For remixing, it's a perfect track with which to explore different sounds without being chained to a melody. I've done a few mini-suite remixes like this before with The Great Boggly Tree (very cut & paste-y) and Ice Cap Zone (a little more thematic cohesion), and this might be in a similar vein as those, at least in terms of structure. The source is almost all 16th note arpeggios: 8 bars of A (A-C-D-F), and then slowly rising and falling through A# (A#-C#-D#-F#), B (B-D-E-G), and C (C-D#-F-G#) as well. At times, I played the arpeggios using a similar log drum sound, but at other times I recreated these arpeggios by recording electronic drum lines and tuning them with EQ notch automation via FabFilter. I also used a harp sample to play the chord progression in moments, layered with a flute at the end (for a Les Baxter Jewels of the Sea tribute). The moments in my mix that have those arps/chords are: 0:00 - 0:44; 1:01 - 1:23; 2:03 - 2:07; 2:18 - 2:38 Also in the source are some horror strings that play from 0:29 to 0:45 in that YouTube vid. The moments in my mix that have those strings notes are: 1:45 - 1:56; 2:03 - 2:10 There's a ton I could say about the methods I used and how I experimented with what to get what sound, but I'll just say this - I was a lot of trial and error. Thanks again to the judges who have to listen to this and figure out if it works for the site or not. - Mike Games & Sources Game: Mario Kart 64 Source: Banshee Boardwalk (link) and also the item box jingle from the same game, which I know doesn't count as source because it's a sound effect (link).

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Should be fixed soon, thanks!

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DMs or Google Drive links are always fine.

I grabbed your Star Control II tracks fro your Bandcamp album. (Thank you!) Would it be a problem to host WAVs of your Laser Squad and Wizardry arrangements (if available)?

The track was 3:53-long, so I needed to identify the theme in play for at least 116.5 seconds for the source material to be considered dominant. I'll just stick to IDing what I can immediately recognize from the key 6-note melody or rhythms (and sometimes the extra note from :18 in the source) and then go from there if it's not enough. :37.5-:42.5, :47.5-:53.25, :58.25-1:04.5, 1:09.25-1:15.25, 1:28.5-2:02.75, 2:06.5-3:30, 3:33.75-3:39.75 = 146.75 seconds or 62.98% overt source usage Fun little audio experiment. :-D To me, catching the melody in the simple rhythmic changes was straightforward enough. If there was other usage, I don't mind it going over my head. Wasn't too abrasive for me, or too difficult to recognize the source in play most of the way. YES

Opens with the sound of the waves and some relaxing vibes. I liked the backing pattern of the source tune functioning as the ever-present base of the arrangement as well until 1:32. Not sure of the role of the tension until 1:56 (until I read the submission comments), but it certainly sounds well-done. The mixing's arguably too muddy, but it feels potentially intentional. :-D Hey, the soundscape's part of the overall mood and nothing's difficult to make out, so count me in on both the arrangement and production sides. Good work, Chrom! YES

The bassline's mixed in a way where it's present, but sounds indistinct; it should have cut through more. Drum and bass with no bass. :-P Piano at :57 was very fakey, but it's alright for the style even if it's not my cup of tea. I dug the string writing at 1:19; cool approach to the chorus that I'd never heard before in an arrangement, ever. Wasn't liking how loud the drums at from 1:44-2:06 were, but they didn't last too long. 2:18's section was empty, but it does provide textural contrast. The glitchy sounds though were cool and added nice tension up to 2:57. Lots of creative textural changes throughout that kept the presentation interesting. The electric guitar chugs needed more body to them, but I'll live; gave some Duke Nukem 3D vibes. Not gonna play by play the rest, but sufficed to say, I dig cinematic strings, and I had mixing nitpicks come back for the end with the drums I wasn't digging. Love the sudden finish too, that'll catch people off guard the first time around. Nitpicks aside, Ben, super creative arrangement with tons of personality. YES

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I'm new to this one, so I'm coming in fresh. Something about this mixing feels lossy-sounding, and the groove at :13 feels static, despite the energy of the other writing. The bassline's that opened the track is decent, but over time feels like a boring loop that could use further variations well before 1:49 (writing and/or sonic) to not sound so static. Around 1:13-1:15, 1:33-1:35, I feel like the timing of the groove is slightly warping somehow (like :05 of this Blanka theme), so it subtly feels like it's slowing down, then speeding up to catch up; it could just be the timing playing tricks on me. Groove changed at 1:49 and the core drums that are on the beat sound tepid. The clap groove at 2:31 was underwhelming and undermining the energy, so I was glad that went away at 2:58. Ending will have to be fixed, since the track just cuts out abruptly. It'll come off like I hated the track and think it's hopeless; there's many positives with the overall treatment, Sekky, as it definitely stands apart from the original, and the effort's there to have the textures evolve, even if they still feel too vanilla to me. Something about the percussion at the foundation of this feels flat and plodding, that's the main hangup. If this passes as is, it's a case where there's some drawbacks but it's solid enough. To me, it feels like it's 65% of the way there; many of the sounds are fine, but the ones I pointed out could use more sophistication. Though I haven't listened to the previous versions, from reading the judges past votes, it seems like you're moving things along well and have made meaningful strides, so I hope you'll remain dedicated to improving this if it doesn't pass as is. NO (resubmit)

Love the potential of arranging a Genesis theme like this one, which sounds so skeletal. It's being beefed up and fleshed out with richer sounds and lusher textures. Wonderful sonic expansion. Right at 2:28 when I was hoping we'd get something fresh on the next iteration of the verse, MkVaff changed up the leads and got more aggressive with the sound for some nice contrast. Good thinning out of the textures at 3:47 to wind it down. Do Defender of the Future next, Mike; need some Tim Follin love! YES

It becomes more of a moot point at :28 when more elements come in, but there's obvious hiss on headphones when listening to this new version compared to the old one. I hear it as well around 2:14 when things are quieter. One of those issues where it doesn't matter much in the big picture, but you should be aware of it in case it can be addressed.

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