Liontamer

Well, shit… that certainly fuckin’ rocked… Get outta here! YES

Can’t go wrong arranging “Fisherman’s Horizon”. :-) Solid performance and production on Reemz’ vocals. Appreciated the layering of the vocals during the chorus section and the second verse. In the second verse, felt like the snare was too loud and feeling too locked in and metronome-like; pushing up the bass writing would have helped lessen that feel. The tone of the synth handling the “Game Over” cameo and camping at 4:06 didn’t fit the mood of this at all; I’ll live, but something less wacky-sounding would have had more synergy. No big deal in the big picture when the overall concept and execution are strong; quite the different dimension to the source, going the vocal route. The closing section after 6:22 was a very cool second resolution on top of the initial resolution around 6:04. A legit viable double ending, very cool, Marc and Reemz. Nice job, y’all! :-) YES

Opens sounding nice and lush. I enjoyed the supporting writing underneath the arranged melody, giving this a graceful sense of movement. Very restrained and tasteful integration of “Pirates Ahoy” as well. Relaxing, emotive, and engaging! :-) YES

Fun theme choice, and I can understand being intimidated by it or at least needing to take time to figure out a creative approach. Going prog rock worked pretty nicely here. I’m digging the regular textural changes, which was a feature of the original of course, but it carries over well here with the souped up instrumentation you guys have got. Oh shit, that drop-off at 2:46 majorly grabbed my attention. I do wish the flute at 3:09 cut through better to provide that melodic connection to the source, but it’s not a big deal. Guitar at 3:44 sounds amazing, and the chugs underneath filled the soundscape out well. Right at 4:07, we get back to the more straightforward melodic structure and it’s back to the well with more awesome coverage. Absolutely love the powerful yet varied approach, and I know Kikuta would dig this too, great job! :-) YES

Sounds pretty chill. The voices don’t cut through as much as I’d like, but this does a solid job of sounding like they’re voice clips taken from another medium, like you’d hear in some synthwave piece. Strong lead performance once the “Balamb” melody arrived at 2:05, digging the tone; the acoustic guitars and percussion clicked so nicely here and throughout. Really liked the supporting guitar line as well at 2:38, drifting in between original writing and referencing the source. Just an amazing concept. And I see what you did there at 4:16 & 4:28, you heathens! The change-up at 5:20 with the textures and going for that old timey effect was also cool. Probably didn't need the final voice clip or at least could have effected it differently, but no big deal. VERY nice work, y’all! YES

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Overall levels are up there, but I'll live. Nice lil' syncopated perc at :13, loved the energy there. timaeus wasn't kidding about holding to the structure of the main source to start. Beats at 1:22 were feeling bland, so I was waiting for a pivot/adjustment to live things up more, but never got it, so 1:22-2:17 didn't groove as much as it could have, IMO. Same from 2:37-3:32, these beats feel plain as well. Regardless, even timaeus at 80% strength, he's crushing it. The parts otherwise sounds gorgeous and vibrant, and there's always an overall brightness and charm to his work. Nice source tune choices, and the instrumentation's personalized well! YES

Flutes at :28 were shrill; I would have pulled those way back. Wasn't liking the snare tone from :28-:52; something about the sounds made the drum writing feel plodding and vanilla; it didn't have the right textural fit with the other instruments when it was in play. I'm not able to properly articulate that issue, so we'll see if a musician J can better explain it. The performances are decent, but IMO not tight enough, though they do have character. I wouldn't know anything about clarinet technique, but did hear what felt like some unsteadiness there, so hopefully prophetik's comments are helpful. It'll sound like I'm pushing for absolutely squeaky-clean perfection; I'm liking the concept, but the drums don't fit and the mixing's leaving a lot of piercing highs. It's only 2 minutes, so there's more of an onus, IMO, of a project sounding close to fully cohesive if it's going to be short. Arrangement-wise, this is a good concept. Still needs some polishing, in whatever forms that may be, to sound more cohesive and balanced. NO (resubmit)

AFAIK, they haven't done anything I'm aware of since the VGMix days. They have 4 tracks up on https://vgmixarchive.com, including the Tetris mix you mentioned; just search "Sound Junkie". It appears they were registered on our forums as well; if I have it correct, you can message them on their Instagram page, though they focus on photography now. I hope that's accurate; good luck reaching out!

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Artist Name: Lucas Guimaraes ft. Ridleysnipes, Zack Parrish & JSABlixer Lucas Guimaraes - Arrangement, Chiptune sounds Ridleysnipes - Drums, Keys, Mix Zack Parrish - Guitars, Bass JSABlixer - Chiptune sounds I've blocked this track from my memory because of COVID and my dislike for Metroid Fusion and Aria of Sorrow's soundtrack, so I can't even do a source breakdown unless you all really need it. Rest assured, there is a ton of Sector 4 and Heart of Fire in there. Ever heard of the phrase "A monkey could write Shakespeare?" Well, what if your arrangement happened midway through by throwing water at your keyboard? Or accidentally setting your computer on fire before saving your next version? So, uh, funny story about this one. I joined GSM2 as an endeavor to practice my strong and weak points with music making and hoh golly. The first week of doing this I got COVID with coming back from MAGFest. So, that wasn't a great start. To make things worse, Matt (Xaleph) and Wes (Emunator) hopped on the tracks they wanted QUICKLY. So I got stuck with these... sources. I was swapping out a lot of different arrangements. At some point, Trevor (Ridleysnipes) suggested lowering the tempo and Zack Parrish agreed. I gave it a shot but wanted to leave the MIDI around for everyone to fudge with so they could see what sections they had an issue with it. I sent out two MIDI versions, one at 190 BPM and an updated one at 170 BPM. ...and then it happened. The first time ever in one of my arrangements. Zack already started recording at 190 BPM. I didn't realize he'd opened the older MIDI until it was too late. We were on limited time, so we stuck to that. So yeah, that's how my keyboard got water thrown at it midway. And what we ended up with was an absolute assault on the ears. Complete (controlled) chaos just ensued past that point. This arrangement goes balls to the walls all over the place. Taking influence from Yes, Tool, Metallica, Iron Maiden, Avenged Sevenfold and Deep Purple. Hoh my god. But that's part of what's been making VGM so much fun for me; taking music I love listening to and mashing it up with the games I love. Learning from my favorite artists on both aisles. I'll be sure to kill Zack's fingers again another time - Just not on accident. Haha. P.S. hey Shariq (DarkeSword)? I still hate Metroid Fusion. there ain't even a Kraid theme in there. Like what? Get outta here! Games & Sources Castlevania Aria of Sorrow - Heart of Fire Metroid Fusion - Sector 4

Gonna make it quick. The ending's flat, but it does resolve. The arrangement's creative, so I appreciate the approach. It could have been more dynamic, but it's transformative enough that I'm alright with it, even if I felt it required more time. Feels like there was more potential meat on the bone and that these 2-minute pieces feel unsatisfying. The transformativeness of the arrangement approach tilts it. However, if you take more care to fashion a meaningful resolution, it'd feel more fully developed and resolved. YES (borderline)

Artist Name: LXE I arranged this to be super minimal stripped down version of the tune that I thought might be heard at a some jazz club or cocktail bar in the wee hours of the morning. The bass is definitely the star here, walking all over the place and providing percussion, but the vibraphone helps fill in the harmony and give a contrasting timbre to the bass. Hope you dig it Games & Sources Teenage Mutant Ninja Turtles IV: Turtles in Time - Super Nintendo

Just throwing a quick one due to being on vacation but wanting to not hold things up. I liked hearing the synthwave-inspired approach; definitely an interesting choice. It's passable, but the performance is still too stiff and not as expressive and fluid as it should be, e.g. the little flourishes at 1:15, the programmed drumming, which felt the most stilted, the synth at 2:51, which also felt too robotic, and just the overall pacing/flow. It's OK to be deliberate, and this is solid, but it's missing that extra level. Not sure what was going on from around 2:29-2:38, but I would have changed the notes there; something wasn't quite clicking there with the writing. I could understand if others have more reservations or want things improved more. Regardless, transformative, reasonably performed. YES

Artist Name: tibonev Arranged this for the Pixel-Mixers 'Fairy Fantasia' Bravely Series tribute album. For my track, its a hybrid between electronic (borderline synthwave), but using real guitars and a real electric bass. Lots of different synth sounds, all kinda pointing to the early 80s, and lots of clean electric guitars with chorus/delays. The main idea behind the arrangement was see how much i could with a source that was a piano solo, and how much i could add, without losing the original characteristic of the source. I think i managed to craft a very unique feel while still retaining a bit of that sorrow feel of the original, but ofc, that is open to interpretation. Games & Sources Game: Bravely Second: End Layer Source: At that Time (the track is also called 'On that Day' on spotify, its the same song as linked in the youtube video below) Composer: Ryo Youtube Link:

Artist Name: moonove As a pure fan of Shinobi, the original game musics have always been a source of inspiration. Games & Sources Shinobi, original level 1 lo-fi cover. Original by Yasuhiro Mayakami

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