Liontamer

Yep. He smells.

Nice opening with the bells as well, as going for the light orchestral approach; it's not structurally transformative, but very well adapted For the first minute, everything shaped up nicely. I agreed with Deia about the sour note at 1:51; it's not a huge deal, but it should be tweaked if possible to make the support writing work with Jeff's note there and prevent the dissonance. The dropoff at 2:13 actually felt like an opportunity to do something a bit more dynamic with the composition, but that's just a personal taste thing; that said, I really enjoyed the percussion in the background from 2:20-2:45 as well as the chromatic percussion transition (though there was light crackling/distortion from 2:48-2:49). Again at 3:13, there was another chance to do something more drastic with the dynamics or sound palette; this goes the more understated route. Also, until fuller instrumentation came in at 3:43, the harpsichord timing feels exposed as too rigid, something that was an issue for me throughout (timing), but not as much as it was there. Dynamically, there could be more going on, but within a flatter dynamic curve, there's actually a good deal going on with subtle textural changes throughout the piece. It actually feels very much like a piece of in-game BGM maintaining a fixed energy level all while fashioning contrast through those restraints. I think Palpable's right on his NO in the sense that it feels more like a personal preference leaning to me as well; there's indeed more I myself would like to see from this piece -- and I hadn't read the previous votes before writing mine -- but I believe the arrangement's genre interpretation, subtle instrument/textural changes, and overall clean production had more than enough going correctly that this should be a pass. No big issues here, and I enjoyed the approach. Good job, bros! YES

@Gario Do you mean at 2:56, the wind/howling and bubbling noises? I'm not familiar with the game's SFX. Please verify. Also, if removing the SFX would make it a YES, then IMO you should go conditional YES. But either way, I'll contact the artist about the SFX.

Yeah, screenshot it; could just be you.

There's something somewhat hollow in the texture, most noticeably at :56 and then with the Weapon Factory melody at 1:07. I also thought the kick was too upfront yet thin and didn't gel with the other instrumentation, but nothing that was a big detraction. What's here is full enough, and by 1:41 when things filled out more, there was actually a small bit of mud. Nice changeup of the texture of 2:04 to more of a spacey feel that works very well; I really love how the main source here has been transformed. The beat at 3:12's too thin; needs some meat on the bones and perhaps a different tone entirely. The synth at 3:34 handling the Culex/FF fight is something I've heard from Justin a lot, so I'm used to the sound, but the way it's sequenced feels way too stiff; it's an electric guitar synth, and maybe everyone doesn't need it to sound more humanized, but the lead's timing felt too blocky there for the final minute. Some more padding without creating mud would do wonders for the overall sound and fullness of this, but what's here is strong and the arrangement's excellent, particularly the effective time sig shift of 13/8 to 4/4. YES

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Quick check to understand the source usage: Mass Effect 1 Theme - :01-:33, 1:45.5-1:55.75 = 42.25 seconds Mass Effect 3 "Leaving Earth" - :17-:27, :28.75-:30.75, :33.5-:37 = 15.5 seconds Mass Effect 3 "An End, Once and for All" (1:15, 1:38 with strings) - 1:13-1:44.5 = 33.5 seconds Checks out. Brilliant, seamless weaving of these themes. The ME1 main theme is easy to overlook without it being expressly pointed out, so I appreciated that. Nice job, Paul, and welcome aboard! YES

I didn't feel a lava vibe from this (though it's not like the source tune is that way either), so I'm interested in what prompted the title. This source first got put on my radar by Sine's excellent ReMix, "Seeking Heat," so I'm glad to hear it again with a fresh spin from Emery. I was enjoying this from the start, but when things picked up at 1:06, I fell in love with the sound palette here; really nice stuff. The EP used for the comping from 1:18-1:43 reminded me of ella guro's work. When the main beats dropped out at 1:43-2:07, I initially lost my place in terms of the timing of the piece, but once I heard it the third time, I was fine; that said, I could see some people complaining about being bucked off the horse, so to speak. Small thing, but the string accents from 2:33 were my favorite part of the textures getting denser again. Weird note at 2:51 that I didn't think worked, but it's quick and does resolve alright, so no big deal. 3:20 until the finish got even more expansive with original writing on top of the source tune, which is basically the additive approach Sine took for part of his mix, and one that makes a lot of sense. Everything works nicely here, Emery; great mixing that never sounds too dense or muddy, with part-writing that I can really appreciate. Nice sound upgrade to the source along with strong integration of original comping. YES

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I don't think the source lacking an upfront melodic line hurt this at all, as there's more than enough melodic content to work with here. The main issues were that the arrangement simply wasn't structurally interpretive enough with the treatment of the theme, AND it became repetitive and lacking in any dynamic contrast. Once you get to 2:00, there's nothing meaningfully new in the piece at all. Everything's just on auto-pilot and totally underdeveloped, and Sir_NutS is correct that the instrumentation, while not unpleasant at all, still feels stiff and lacking humanization. Agreed on that sour note at 1:37; that would need to be fixed. I also agreed with the snare drum sounding relatively flimsy, but for me it's mainly because there needed to be some additional padding of some sort to fill out the soundscape, not because the snare itself had a bad sound. I agreed with DragonAvenger that there's not a way for this mix to be approved without a drastic overhaul; there's just not enough interpretation of the theme. Even forgoing that main melodic line from "Into the Thick of It," you'd have to do much more creatively with it to have it meet the arrangement standards here. Cool cover, Jefferey, but there's not enough substance to make this take substantial and original. NO

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3 and 8 are in progress. Could be a while, but eventually. Currently no plans for 10, but seems like something that would likely happen down the line.

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Quick co-sign on Chimpa's NO vote. The personalization is evident, but she's right that the copy-pasta was in full force here, leading to a very underdeveloped, repetitive arrangement that also lacked dynamic contrast as a result; the additions starting at 3:23 weren't anywhere near enough to make up for that, since the track was practically over. I didn't mind the current level of compression or the drum mixing, but her advice on those aspects is correct; they're just not dealbreakers issues if the rest of the arrangement were fully developed and on point. You're not inherently a bad musician or anything like that for doing so much cut-and-paste stuff, but the potential of this piece isn't fully realized due to you kneecapping the development and creativity put into it after a certain point. See what more you can do with that, and also consider other rhythmic, textural and/or tempo changes you could do to keep the piece fresh and not get so repetitive with the ideas. Good potential, Victor! NO

I've heard so many AA mixes, so I'd love to hear other DKC themes arranged more, but when you have a hit among VGM arrangers, it can't be denied. The sound design's not innovative, but Aymeric's got solid, personalized instrumentation here. The synth lead at 1:05 takes some getting used to, feeling somewhat shrill and off-key at first blush, but it's not a big deal; getting more creative with the sound for the lead probably would have made more of a difference there. Nice original writing from 2:07-2:27 that integrated well with the subtle references to the source before tweaking the melody at 2:27 followed by more original writing on top of the source from 2:52-3:05 and another iteration of the melody quickly before more original synth writing from 3:18 until the finish. Dynamically, this doesn't take many drastic turns, but there were effective additions and subtractions of the beats and synths to change the textures and provide contrast, plus many good integrations of original writing. There may be some qualms on the sound design or production being cramped, but to me it was nothing major that should hold this back. YES

No download link on the SoundCloud page, so just stream it for now -LT Paul Hadamereal name : Aymeric Velozzo OC remix name: Aqua WaveGame : Donkey kong Country (snes)Name track : Aquatic AmbianceName OC remix : (not find for the moment)REMIX: ---------

Never heard the previous version, but this version easily holds it down with a well-personalized set of live parts. Agreed with the others that there could some use of EQ to add some more clarity and sharpness to the soundscape, but the mixing's definitely not a meaningful issue here as I can hear most of the elements clearly despite a bit of a lo-fi sound. The fret noises of whatever was brought in at 2:32 tended to interfere with things on account of sounding too upfront, but it wasn't a huge deal. Nice work, Steve; welcome aboard! YES

The track was 139 seconds long. I had it timed out slightly differently, but it's over the line with source usage anyway. Keep in mind that basically doing anything weird in the Crazy Bus style "counts," but I'm only allowing it by virtue of it being short, since it's not musical. :37.25-:49.5, :49-49.5, :54.5-:55, 1:00-1:11.5, 1:11.5-1:19.5, 1:22.75-1:31, 1:33.75-1:56.25, 2:04.75-2:19 = 76.75 seconds or 55.21% overt source usage This shit is crazy. Congrats on our second a capella mix, Joe! YES

Right at :04, the woodwind (clarinet? I'm not a musician :-D) timing felt blocky. The brass at :37 also had a rigid quality to the timing. At :56 with the brass lead, the texture got muddy due to the instrumentation behind the lead; it's doesn't sound bad, but there were some cramped moments there. Something about the cymbal shots starting at 1:37 sounded very tacked on, underwhelming, and not integrated with the rest of the instrumentation. However, the mallet percussion starting at 1:54 was an excellent accent idea, as well as the various industrial clangs at 2:26. The isolated decay of that last string at 3:42 didn't sound great either, but I'll live. I agreed with the other Js about the arrangement repeating the melody a lot in a straightforward way and potentially having more places to go, but the instrumentation was personalized enough and varied enough, so there was enough different for me in each iteration. As far as the instrument quality, I wasn't as bothered by what the other Js heard, and didn't feel the overall realism in the execution was below the bar despite not being ideal. I did pick up on the mud starting at :56, but it didn't interfere with the sound much for me. It's not the strongest YES because I also would have liked more melodic interpretation, but I don't mind how an artist chooses to personalize their approach as long as there's enough modification and the overall production and execution is good. I'm not saying the NOs are invalid, but I don't feel the bar is quite that high. YES

The Director/Artist comment TXT file contains that, as well as the Comments field of each file. The VGMdb entry also has the sources listed, using official US iTunes release titles.

It's track 1-07 from http://vgmdb.net/album/1588