Liontamer   Judges ⚖️

One could argue the arrangement's transformational enough to bear the wholesale repetition, but I wouldn't here. I definitely dig the slowed down approach, the groove, and the overall instrumentation. Cool stuff, just see what you can do to differentiate the second half from the copy-pasta layout! Strong base here, so please don't drop it. NO (resubmit)

My vote from 2021 remains the same: The arrangement aspect of it is just too minimal. Just two repeating lines of the stripped down source tune that desync and wind up back in sync. A fun audio gimmick, but not a developed arrangement by any stretch. And that’s OK, it just falls outside of our arrangement standards. I'll add that the source tune itself has more ideas to mine or be inspired from like the string accents (arrive at :12) or textural/dynamic changes (1:14-1:39 & 1:58-end), so consider adding in some arranged accents, or trying something else entirely different that's additive (since the base pattern keeps the source usage). It'll sound like I'm saying you have to reference other areas of the source; that's not necessary, but there needs to be further arrangement development due to the premise as is not offering enough of that. NO

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Original Decision Artist Name: Michael Hudak This is a phasing music piece that repeats the riff from "Guardian Battle" over and over, which I think reflects nicely the relentlessness of the Guardians themselves. I first made this in '21, and have since made tiny tweaks off-and-on over the years. About phasing: Phasing is an approach to minimalist composition in which two identical tracks start playing at the exact same time and tempo, but slowly move out of phase with each other as one track speeds up or slows down while the other remains the same. As they begin to slide out of phase, first you hear a doubling effect, then a delay that becomes more and more pronounced, and then finally they become totally de-synced as new rhythms appear and different combinations of notes overlap. Steve Reich popularized (many say came up with) the idea in the 1960s with his piece "It's Gonna Rain". He took two tape machines with the same tape, started them at the same time, and after a few minutes they began to move out of phase due to one of the machines playing very slightly slower than the other - "process music" as he called it. He would expand on this idea over the next several years with "Come Out", "Piano Phase", "Violin Phase", "Clapping Music", and "Drumming". Reich would become one the most influential American composers of the 20th century in large part to his phasing music pieces. About this piece: Obviously, a DAW will play a loop perfectly for as long as you want, so I started with a ~4-minute loop at 160 bpm, and another starting at 160 but eventually ending at 158 using an almost flat tempo automation ramp. I wanted to get a vintage tape machine sound like in "It's Gonna Rain" and "Come Out", but also the reverb of the orchestral space in "Piano Phase", so I tried to combine those lo-fi and hi-fi sounds. I ended up creating two more identical tracks by filtering out the low end and bringing up the white noise. The hissing, more airy tracks slowly pan out as the more midrange-y tracks pan in, and vice-versa. The loop is an octave higher than the source; I experimented with the original octave but it didn't "pop" the way I wanted it. It became too much of a low-midrange drone. There are some slight granular effects that simulate the grinding low piano in the source, but overall I REALLY had to resist the urge to add more bells and whistles, and to just rely on the purity of my initial idea of Reich + Guardian riff. As for source usage, it's ~100%, if - and here's the gray area - IF you can train one ear (either one - it's easier with headphones) to discern the source as the tracks move out of phase. The bit from 0:04 in the source is always playing, but whether or not it's recognized is on the listener, hence my incredulously long write-up for submission. For ~15 seconds at the start it's played by both tracks at once, and again for ~15 seconds at 3:25 after everything comes back into phase. 3:32 has the only appearance of the melody that happens in the source at 0:12. In the end, I couldn't resist adding it. Thanks for anyone tasked with judging this one for taking the time to read this long explanation, and for considering another left-field submission. You won't hurt my feelings if the lo-fi aesthetic or the esoteric nature of the piece disqualifies it from the main page. Just had to finally close the book on this one either way. Games & Sources Source arranged: Guardian Battle Steve Reich compositions that inspired this ReMix: It's Gonna Rain; Come Out; Piano Phase; Violin Phase; Drumming.

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Artist Name: SKYR3SH_MuSiC "Peace Village" I made this ReMix two years ago (2022), a few months after the release of the game. I remember when I first played Pokémon Legends: Arceus and arrived at Jubilife Village, I really felt a lot of peace inside, while walking around the area and discovering new things. Hearing this gave me very good vibes and feeling that everything would be okay. For that very reason, in my ReMix, I took the liberty of calling it that. It is a Colour Bass ReMix. Although this musical style comes from Dubstep, I made a melodic and relaxed ReMix with influences from Trance music, respecting at all times the original song. In my ReMix you can notice the use of resonators that make this genre unique, the sweet voice of Pikachu, and different drops. Games & Sources “Jubilife Village”, what a beautiful place to relax. This song was created by composers Go Ichinose, Hiromitsu Maeba and Hitomi Sato for the Pokémon Legends: Arceus video game for the Nintendo Switch console in the year 2022, where we return to the past of the Sinnoh region, Hisui. After listening to this song, I couldn't resist and shortly after I made a ReMix of the song, which I myself, again, recreated again from scratch but adding a few more things and in a different style, Colour Bass. I'll leave the original song in the following link so you can listen to it: Jubilife Village (Early) Theme

The notes at 1:21-1:25 felt awkward, but that was a brief bump in the road that resolved fine; otherwise appreciate this theme treatment a lot. :-) The mixing sounded good to me, with the parts feeling reasonably balanced. Fun performances and solid interplay between all of the parts for a very enjoyable, intimate ensemble! YES

Artist Name: Whispy Woodwinds Arrangement, Mixing & Master: Lucas Guimaraes Bassoon & Editing: Andrew Gossett Flute: GameroftheWinds Alto Sax, Clarinet: Steven Higbee No track rundown since it's basically all source. Wow, it's a been a bit. This is our third track since our initial debut as a band (our first being Parasol to the Stars and our second being Arle's Theme), and it's far from our last. I'll give a brief rundown of what's happened since. So we had our first performance at VGM CON - It wasn't as tight as it could've been, as we had a few issues. We regrouped and decided that with increased obligations in other places, it'd be better for me to hand my performing duties off. We also decided that an Alto Sax would be more fitting and less honky in the ensemble. I'm pretty happy with both of these choices, as it's allowed me to put in more energy towards arranging and production while I'm able to work on Lucas Guimaraes & The Dunites (more stuff to come from us... soon) and other projects more. This arrangement was originally intended for March Caprice last year, but life had other plans. I was increasingly busy for the first quarter of last year, promptly burning out after that. So I've had this arrangement for well over a year (we even performed it at VGM CON 24), but we were kind-of sitting on it. I spent a lot of last year really reflecting on who I am and going on an entire quest of self. Talk with anyone who knew how many projects I had going on: it was far too many. One year later and almost out of burnout, David Russell convinced me to sign up for this year's March Caprice. I decided to go back into this. I kept trying to fiddle with the arrangement, but then I noticed a funny thing: When I'm on the edge of burnout, that's when I tend to put out some of my best stuff but hate it the most. I actually fell in love with this arrangement all over again. Once I got the recordings in, I knew I had gold. This is the first mix for the band I've done and been REALLY proud of. Oh right, I guess I'm supposed to talk about the song. I tried to get a story in. I knew towards the very end I wanted that sax solo, which initially was whistling. Everyone got distracted from it in rehearsal, so we changed it to sax. I learned so much from having the experience of having my arrangements played live, both here and with Dunites. With the ending, I was really going for an isolated feel, as Hollow Bastion is pretty much the climax of Kingdom Hearts where there's a lot of themes on loneliness. I also wanted it to be very floaty like the original track, but not too floaty. One thing I was worried was that it was becoming too repetitive, as I didn't have a lot of deviations into original material, but I focused on making each of the repetitions as fresh as I could. Performances? Knocked it out of the park. I think it's leagues above our past two recordings. Everyone brought their A game. Mixing it was a bit challenging, as I really wanted to push myself for a mix that knocked it out of the park. Something that has personality while still sticking true to the conventions of chamber mixing. I think I've managed to nail that sweet spot. Hope you all enjoy :) Games & Sources Hollow Bastion - Kingdom Hearts

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