Liontamer

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So Rebecca actually pulled this and replaced it with her FF7 submission, but IMO she wrongly believed it would be rejected. It is a medley of 3 songs, but I thought the flow was fine, so I believe it deserves a vote. I'm being a bit of a badmen here, but since the Content Policy allows us to post whatever's submitted and not necessarily give into a removal request, I chose not to accept the withdrawal and to panel it anyway. Note to musicians: DO NOT SELF-REJECT YOUR WORK. DO NOT SELF-REJECT YOUR WORK. DO NOT SELF-REJECT YOUR WORK. We'd much rather you gave it a shot and submitted it, even if it risks a rejection. I know for a fact that there are talented musicians in the community who -- despite making really strong stuff -- have chosen not to submit particular songs because they assume they would get rejected. The evaluation process is here to lift you up, not beat you down. We'd love to have the ability to check out your work, offer constructive criticism where we can, and praise and encouragement even if it doesn't make it. Onto the mix, the layout is: :00-:38 - "Unicorn" :38-2:00 - "Mystic Forest" 2:00-4:20 - "The Treant's Forest" Rebecca often submits medleys, and some judges have taken issue with the structures not flowing enough like one overarching composition. At :38, she uses the background bowed string line to connect the themes, while the harp is common instrument connecting the transition at 2:00. To me, the changes in themes were apparent, but I felt the changes from each theme to the next, while quick, were smooth enough in the big picture. The overall piece felt like one with movements rather than just a slapdash combination of themes with 0 flow. Arrangement-wise, I was impressed with how expansive her takes on these themes were in the adaptation to new age. Dynamically, there could have been more contrast overall, but the deliberate pacing that has worked for her in past tracks like her "Final Fantasy Forest Medley" works in exactly the same way here. YES

So Rebecca actually pulled this and replaced it with her FF7 submission, but IMO she wrongly believed it would be rejected. It is a medley of 3 songs, but I thought the flow was fine, so I believe it deserves a vote. - LT ----------------------------------------------- RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262Game: Tales of Phantasia Song's Remixed: Unicorn, Mystic Forest, The Treant's Forest Song Title: Magical Forest Medley Youtube link: https://www.youtube.com/watch?v=3CmsF_XXM-A Dropbox link:

What did you think? Post your opinion of this ReMix.

I was just commenting on Russell Cox's Castlevania III "Prelude to Darkness" as a good example of a structurally conservative OC ReMix that expanded upon its source tune, and this was another solid example here. Agreed with the others that this effectively takes "The Landing" and gives it a nice epic cinematic sound upgrade with good additive touches. I heard the overcompression MW mentioned as well, and while it wasn't enough to pull this down to NO, it would be nice to get another pass at that, just to clean this up and get things sounding their best. Nice work, Alex, and welcome aboard! YES

Man, tell me about it. Russell Cox is such a legend. My highlights were the delicate harp brought in at :37 & 3:23 -- which sounded incredible -- as well as the original brass flourishes at 2:03 and orchestral swell at 3:02 (which was garbled by the low encoding). Everything holds up pretty well today, and this one's a perfect example of a melodically conservative arrangement that's creatively expanded and given a substantial, personalized interpretation into a new genre. Amazing stuff!

The harpsichord at :11 was way too loud and upfront. Oh shit, at :22, the lead synth was shrill and even louder than the harpsichord. What's going on here? The levels here really made no sense, and the track's way too compressed. Around 1:17, the plain writing of the core beats was already getting stale; you really need to get more creative with that part, otherwise the whole track feels static like it does now. Also, 1:17 and 2:01 were opportunities to get creative and varied with other aspects of the writing. Instead, the lead synth just has the same vanilla tone throughout, and the same deliberate pacing. At 2:23, we already heard that stuff at :43, and there's essentially no variation there where going to it for the finish. The whole execution feels like an early work-in-progress and -- completely divorcing this from the Standards here -- not up to your own usual standard of quality. I do like you venturing outside the wheelhouse that I'm at least familiar with for your work, Sebastian, but there's a lot of detail work and variation lacking in this piece. With such a brief piece, you've gotta vary up the sounds and arrangement ideas for the source tune, and the balance among the various instruments can't be so off. Rein in the volume, get more varied with the leads and melodic interpretation, and vary up the drumwork. NO

Opened up sparsely, which didn't seem promising, but the raw overall energy was actually fine once the track really started at :15. The guitars lacked some high-end, but sounded fine in the big picture. I'm actually surprised by how well the drumwork/breakbeats clicked as well, but it did a great job giving your own interpretation of the source tune's drum writing. The track could have had more clarity, but the writing was very energetic and expressive with a lot of attention to detail, both the percussion and bass work. Timing it out, it felt a little source light. The track was 2:17-long, so I needed at least 68.5 seconds of identifiable source for the VGM usage to dominate the arrangement per the Standards here: :15-:49, 1:45.5-2:16 = 34+30.5 = 64.5 seconds or 47.08% overt source usage Just noting, :15's section was more like the mix1 arranged version of the source (used in the home versions of the game, which I played a ton), while 1:45's section was structured more like the original arcade version of the theme. Little bits of the bassline within :55-1:13 were similar enough to the opening 8-note riff of the mix1 arranged version of the source where I could count those added bits as helping this squeak by with the source usage being dominant. As far as I could tell, the SF5 version of the theme (which only references the main SF3:3S source for a smaller part) wasn't used here, but maybe another J will make out something I didn't. Onto the one main negative, the SFX usage of Urien voice clips from 1:24-1:39 felt so gimmicky and forced. The track could have done without it, although you get more used to the SFX after several listens and it's not a huge enough deal to hold this back. That said, for such a short track, you wove in a lot of original writing ideas and didn't get repetitive with the arrangement at all, plus the production was solid. I thought this packed a lot into a small amount of time and rocked this theme out. Solid job, Andrés! Good luck with the rest of the vote! YES

Wouldn't disagree with that at all. I'll drop him a line.

Thanks for pointing that connection out. I looked in the comments of the Kamex's YouTube video for this track, and he said to a fan making the same connection: "Indeed it was [an inspiration]! It's like one of my favorite songs to date. Kalbur showed me the song and I really wanted to make a remix based on it. Really good ear for catching that! ^^" OA also mentioned that piece to compare the production, but he didn't point out the writing similarities, so thanks for pointing those out. Part of the problem for Kamex with this track is he has nowhere near the polish of Virtual Riot (not that that's expected or the bar here), so any comparison makes his attempts looks weak. I thought the beats at :42 were too close in writing to "Lunar", but the faster half-beat at 2:46 simply seemed derived/inspired by the structure of "Lunar" (albeit flimsier) without copying other aspects of the song, so that didn't bother me as much. The sweep at :36 leading to :42 was also an idea taken from "Lunar," which wasn't a problem in and of itself, but I can see how paired with the kicks at :42, it can feel like too many writing ideas are worked in from that. I think his is a "crime" of not stacking up to VR in the style department, but I don't think he was trying to cheat as much as trying to mimic. It'd be one thing if he was trying to lift original audio; this guy's trying to do soundalike stuff; it's not the same, but it's copying the techniques. To me, that's two different things. To me, that wasn't quite enough to NO it on too much non-VGM grounds, but enough to ding it for cribbing some outside compositional ideas in too straightforward of a way, especially without acknowledging it in the submission letter.

Just putting it out there again, Jan, that this was really cool, and we do want to post this in some form. Definitely re-submit this; it'll skip the wait time in our inbox, and we'll come back to it more quickly. Nice work so far, and I don't believe it would take much to turn some of us into additional YES'es.

:02.5-1:58.5 (Z2), 2:40-3:09.25 (Z3) Not sure why the soundscape sounded so quiet and distant. I agreed with Gario that the overall levels need to be raised before this should be posted. I had to more than double the volume I normally listen just to hear this at a regular listening level. That said, once I boosted the volume and could hear the detail work, it was obvious this was fine in terms of sound quality, and also wasn't actually distant-sounding. There could be some further clarity here, but certainly nothing meaningfully off about the mixing here once you hear this at the proper volume. Aside from that, the energy here was disjointed and fun, and it's a great surf-inspired adaptation. Arrangement-wise, the combination of Zelda 2 with 3, while not intertwined, pieced together nicely through the original section at 1:59. Nice job, Daniel! YES (conditional)

The beat at 1:10 had decent body to it, but there was still an overall emptiness in the textures that should have been filled out more. The addition of the synth at 1:37 thankfully provided much of that filling in, although there's still gaps in here, and something's still lacking, IMO. I liked the original writing of that lead synth though, which comfortably clicked with the source tune. Overall, the arrangement's solid, but there's something about the beat that could have been more interesting over time. More original writing took the foreground from 3:05 until the end, with the source melody occasionally being (barely) audible in the background around 3:59. No issue there, as that approach is allowed, and the source tune usage easily checked out as dominating the arrangement. Dynamically, the groove ultimately became static past the midway point, but I agreed with the other Js that the sounds were used well for the most part. The original 3:05 section helped seal the deal for this by developing new writing ideas for the track and filling out the textures more cohesively. Great job taking a very barebones piece and effectively expanding the part-writing with your own ideas, Miguel! Welcome aboard! YES

I had to listen again just to make sure I wasn't overlooking what the other Js were, but, nope, sounded fine enough again. Another pass at the mixing would be great, but to hold this version back? Can't co-sign. WE FIGHT TO THE DEATH!

It didn't bother me at much, but it wasn't just you. Some of those grace notes aren't working. I'd timestamp this too for my own edification, but the production quality is an automatic dealbreaker. It's basically in mono, and sounds distant. There's not much in the way of production choices, or clarity for that matter. djp elaborated on what makes for acceptable chiptune production in the judging decision for RushJet1's "Dark Depths of Wily's Castle", so I strongly recommend listening to that and reading that discussion. Right now, this needs to make more use of stereo and add in some high-end clarity. NO

Sounds harsh on the high-end to start, but nothing dealbreaking, at least initially. Around :40 in, and the groove is sounding cool, but basic, so I'm hoping it goes somewhere more sophisticated with the sound design. Whoa, the textural change at 1:08 definitely wasn't expected; curveball in a good way. Goes back to the beat-driven material at 1:36, and the lead synth for the melody is feeling very plodding and vanilla; are we ever going anywhere interesting with that lead? (Answer: nope) 2:30 recycles 1:08's writing, which was still good, but copy-pasta'ed. OK, so there's some added effects for this section, but it's basically 1:08's section looped longer. Kind of eh, creatively. That said, the very gradual build of the stuttering synth line in the background from 3:00-3:30 as a transition was smartly done. 3:52's section brings back the source verse again with some additions to the textures, before the beat dropped out at 4:20 for the finish. The synth lead first used at :13 really needs to do something else creatively over the course of the 5 minutes, especially with the tempo purposefully being slow like this. I agreed with Chimpa on how the copy-pasta of some of this hurt, as it dragged on due to the tempo. And there should be further variation on the writing or textures when core sections are being repeated. There's so much going right with this that I wouldn't die if if was posted as is, but I felt the number of smaller issues added up to needing some more development. It's maybe 80% of the way, IMO, Jan, but I see why folks are digging it; it's a creative approach, for sure. Definitely tweak this to fully realize the potential here if this version doesn't make it. NO (resubmit)

He's got you there, John. Nice work so far, but the copy-pasta/rehashing is indeed too extensive. As far as being a sonically souped-up cover, it otherwise works very well. Add in some further variations through the writing and/or instrumentation and you've got yourself your first mixpost. Let's make it happen! NO (resubmit)

Just noting for anyone that wants to fully appreciate this, you have to be familiar with both Michiko Naruke's version of this source on the Brawl soundtrack, and "Epiphany" by Intervals, which AJ noted on his YouTube as the main stylistic influence. Pretty swanky opening. The acoustic guitar stuff handling the source countermelody at :29 was getting buried under the melodic lead, but it wasn't a huge deal. Badass electric guitar lead at :45. Yeah, so the imbalance between the parts and overall muddiness were negatives, but it wasn't anything that hugely detracted from the listen. Good balance of mellow smoothness with rocked out energy, and way to pack in a substantial interpretation with a 2:37-long piece. Awesome work, AJ! Please keep the hits coming! YES

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The introduction section was definitely muddy and messy, and I thought the balance was off, but things sounded better at 1:10. Things should have been cleaner, but it wasn't a dealbreaker in and of itself. Nice flute performance at 1:37, and awesome to hear a live one instead of a sampled one, followed by a short but sweet transition to the sax taking the lead at 1:50. Just loads of strong variations in the instrumentation throughout. 2:45 slowed things down and back when I first heard this, I was interested to see where it would go; nice rebuild to the source melody fading up. I could see how MindWanderer though the shift was abrupt, but it didn't bother me. The sax at 3:10 was too loud, and I agreed that it should have been better mixed, but it didn't strike me as enough of an issue (alongside the others) to send this back. The arrangement's stronger than the mixing, and I'd love another pass at the mixing. But on the seesaw of what works vs. what doesn't, a lot more works here, and the overall production is solid enough where this can pass. I've heard a lot of otherwise-strong arrangements with not ideal mixing, and we've passed a ton of them. Love LBC's ideas & energy, as always. YES

It's not meant to be glib or disrespectful, but the lead timing was so rigid, that it was basically a dealbreaker right there. The sound design was otherwise creative and an interesting sound upgrade, Patrick, with strong SFX. I like the Dune: Spice Opera album a lot, so I respect much of what I'm hearing in the sound palette for 2:50's section. But at such a slow tempo, it's problematic to have such robotic timing on everything. The ending also cut out rather abruptly because you had hiss in the background that didn't fade even when the instrumentation did; in any case, the ending was sudden and felt like you merely ran out of ideas. Cool approach so far, but if you can humanize the timing on this so that it sounds less mechanical, this could sound pretty grand. NO (resubmit)

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Fun. But it's Ben, so what do you expect other than excellence? Nothing to add! Rubber stamp. YES

A lil' splashy with the timing, but nothing that felt sloppy; definitely no performance problems or hiccups overall. The transitions at 3:24 & 3:47 were awkward; the backing ambiance shouldn't have stopped suddenly like that. The ending at 4:02 was also abrupt and somewhat atonal, but those are nitpicks of an otherwise creative and well-executed fusion of ambient, jazz, and rap. Very nice! YES

I disagreed with MindWander saying this sounds like the original audio was sampled, and we need to be careful when making that specific criticism. It's definitely chippy and close in tone, but that's not the original audio; it sounds recreated. For example, listen to the crescendo of the source from :25-:29, then the same point of the theme from :29-:33 of the mix. That said, if there's another version of this theme that was directly sampled, let me know, but there's not enough of the chip stuff even if it was directly sampled to make it feel like direct audio sampling was a crutch here. From :33-1:26, the soundscape sounded pretty muddy, with (for example) the supporting sustained synth line seeming pretty obscured. This wasn't a big deal in terms of the arrangement, and I saw Gario's reservations, but I'm ultimately OK with what's here even though the mixing wasn't ideal. The piano sample from 1:27-2:20 sounded generic and blocky. I liked the phasing synth from 1:53-2:19 though; it's not necessarily the sound you chose as much as how you used it, and that area was a nice touch. The rebuild at 2:34 had good intensity but essentially was a cut-and-paste of :33's section. Some more subtle difference from the previous use of that section would have been a step up in creativity. Some minor issues, but more going on that's right in terms of interpretation, dynamic contrast, and personalizing the arrangement. I would argue this does enough to get the job done, but that the repetition didn't help, and the track actually dragged on as a result. Still, Brett takes it over the line. YES