Liontamer

Hahahaha! Channel your inner Wingless, my son.

http://www.tzone.org/~llin/psf/packs2/Chrono_Cross_psf.rar - 311 "Dragon God", 308 "Dragon's Prayer", 216 "People Seized With Life" & 305 "Orphan of Flame" Pimped this one in late May for VGF: Oh, homey, you didn't hit me with the revisions & refinement. :'-( It's what allowed your Dark Cloud mix, that otherwise would have been rejected in its VGMix form, to pass the panel fairly easily. First things first: if you mix more than 2 source tunes, it REALLY helps me and others better evaluate the level of arrangement if you give us a time breakdown of when & how you used the various themes. Especially for someone who's never played Chrono Cross or been a big fan of its music, I have no damn clue what you did here, and what relates to what. Not to shit on you here, but offhand this doesn't even sound much like any of these source tunes, and I'm not exactly inclined to figure it out on my own. Sorry, bro. Help a brother OUT. In any case, Vigilane the rock ninja was spot on with some of the problems here in this mix. Everything sounded the same dynamically and therefore created the impression that there was no real development. There were some changeup in the patterns, but most of the instrumentation combinations all sounded the same the whole time, so the feel of the track never changed. The African drumloop and sustained strings were particular culprits at sounding repetitive. A lot of your instruments mushed together during the busier sections (e.g. 1:27-1:49), so you need to adjust the balance amongst them and position only a few elements prominently. The use of your string samples was particularly bad. In something like "Moon Dust" where you barely used them, their obvious syntheticness and the disparity in their quality compared to your other sounds didn't hurt that mix much. But here, they definitely killed it. You sometimes had these really unrealistic and drawn out sustained notes (e.g. 1:17-1:26 & 1:38-1:49) where there was seemingly no bow movement. And the jerky note-to-note movements with the strings from 2:32-2:58 really hurt the last section and exposed your samples. In general, you need a lot of work in terms of synth orchestration and making things sound realistic on that level. The woodwinds sounded serviceable, but the strings and brass didn't have believable performance dynamics. Definitely scope out the ReMixing forum, because these sample aren't being used at their best as all. This was definitely a step back in quality from your two posted mixes, Damon, but I wouldn't be discouraged, because like you said this was new ground for you and you're trying something different. Certainly ain't nothing wrong with that as long as you're dedicated to learning more and improving. I'm interested in particular at what Gray would have to say on this one. NO

http://www.zophar.net/nsf/dq2.zip - Tracks 5 & 11 I didn't read Gray or Eric's opinions yet, but I'll simply say that the arrangement was good, but I was underwhelmed with the mix on a personal level, as it just wasn't my cup o' tea. I'm sure I'll appreciate it a bit more after several listens though, as it does pull off the delicate approach well. Also, the production here was solid. On the minus side, I still feel Bev's style here was rather plucky and in this case overly gentile, but I think giving the mix more reverb or the performance more sustain to fill the space out more would help give this mix a more body and presence. Nonetheless, this mix wasn't plagued with some of the rougher mistakes I've heard in Bev's past work. The performance was too plucky for my tastes, like I mentioned, but nevertheless came across as more confident and dexterous than her past work. Beyond the performance itself, I didn't hear any really sloppy stuff going on, like notes occasionally having no release, which is an annoying problem for any electronically-made piano mix. Looking at Gray's comments, I definitely agreed with him that the atmosphere was too dry, and Noir articulated very well how there was a distinct lack of dynamics in the piece as compared to what the composition suggests. SPICE IT UP WITH PIZAZZ N'SHIT! You had some performance dynamics noticeably going on, don't get me wrong, but they could have been a lot more pronounced and emotive. And nothing's changed in that your supporting work under the melody was usually thin. I liked the reference to "Unknown World" at from 2:36-2:50 by the way. Very nice way to slip it into the picture and have it fit seamlessly with the main source tune arrangement. Best of luck on the rest of the vote, and props on what likely will be the first posted DW2 mix on the site. The peepz shall lovez. Keep up the improvement, Bev.

Thanks Larry, I stand corrected. Oh, no problem yo. I once made the same mistake on a Space Harrier source tune. NSF Track 5 there was just in there later on in Track 2. Hell, I'd never played that game. Now, courtesy of Microsoft's smash hit game Zoon Tycoon 2, here's a picture of a gazelle:

http://www.snesmusic.org/spcsets/dkc.rsn - "Mine Cart Madness" (dkc-11.spc) Damn computer had a memory dump RIGHT after I finished my vote and was about to post it. Bah, let's write it again, cuz Ty is sexy (i.e. I remembered all of the points I made). I really liked the intro here; it was stylish as hell with some nice buzzy synths and ambient sounds. The source wasn't really brought in until the guitars at :42 played some chords derived from the intro of "Mine Cart Madness." A synth playing the Mine Cart melody joined in at 1:01, though it didn't cut through well as the lead since the guitars took up most of the space here. The repetitiveness of the drums wasn't a huge hit initially, but those drum shots definitely sounded too synthetic and lacked punch. I really loved the spooky ambient transition from 1:32-1:42. Such a sweet idea moving into the guitar work at 1:42 to build things up, I loved it. The intro chords from :42 of the mix basically returned at 2:03 but they weren't as distorted this time around and allowed the melody to show through a lot better at 2:23. Nonetheless, the lead and supporting elements still mudded together and would need to good EQ work to better separate the sounds. BTW, 2:23-onward's not from "DK Island Swing", but just from later on in the source tune (:51-1:33 of Mine Cart, actually). Reading Harmony's vote after I wrote all of my own, I definitely agreed that the lack of dynamics in the rhythm guitars made them feel synthetic, which was a shame. The lead guitar work after 2:23 could have been a little tighter on the performance, especially the freestylish arrangement after 3:04, but that's nothing that couldn't have been worked on. The tone on the guitar work was rather thin, and it seemed as if the tracked relied on the supporting guitars and drums to fill up the space and give the track some power, though I felt myself that that shortchanged the track. The rhythm chords and drum pattern repeated ad naseum from 2:23 until the end at 4:20 (with only a slight alteration in the support guitars at 3:57), so that would have needed to be varied a LOT more. Sounded like the drum pattern was just a placeholder anyway, but hopefully the intent was to change that later into something that didn't have the same pattern and the same intensity drumshot every time. There was also a synth on support from 2:23-onward, but you could BARELY hear it at all, so it was almost a non-factor. The ending itself was abrupt and offered no resolution either, but that just sounded like another placeholder decision. Not sure of how much use it'll be to overview the problems, but in any case vary up the patterns in your instrumentation substantially, hook things up on the production/EQ side so the sounds are better separated, and tighten up the performance a little bit (though that was certainly decent). Meh, I know you know what to do. It's definitely a shame that the source files were lost here, as I'm sure that Ty could have easily gotten this to a passing level, and likely wouldn't have submitted this as is if the source files hadn't messed up. The world definitely needs more 4:20-long remixes. At least post this to VGMix if you want, and pimp this out on some level. This would have been an easy NO-resubmit if resubmission were actually a possibility. :'-( Maybe revisit this idea down the line? NO

http://www.snesmusic.org/spcsets/loz3.rsn - "Overworld" (loz3-04.spc) Mix opened up with some stock boom-tss, which actually wasn't bad. Pretty decent boom-tss, though the sounds and texture were incredibly generic and lacked fullness and power. The source melody finally came in at :55 with some trance adaptation. The melody was finally played around with a bit at 1:23, but those admirable arrangement ideas only lasted until 1:37, then it was back to the verbatim melody with the dance kick and claps. 2:04 featured some different arrangement, and the boom-tss grove was definitely dragiing out its welcome at this point. You really gotta switch up the beatwork earlier and often, as the foundations of your track were detrimentally repetitive, and indeed we finally got something new at 2:59. The tempo and general atmosphere changed up as compared to the first half, though the distortion at some points was a bit much. The faster tempo returned at 3:48 and the arrangement just retread itself from 3:55-4:34, which wasn't bueno. Not a bad, miminalist idea for the ending, BTW. The arrangement as a whole needs more creativity and overt interpretation of the Zelda source material. The arrangement needs to possess more melodic interpretation than what's present here. There were some merely average ideas on that level, and there was too much of the track just using the Overworld theme verbatim while placing the beatwork and other trance sounds underneath. I agreed fully with Gray there that the synth design and processing needs to be more creative, as most of the stuff sounded pretty defaulty, though the texture wasn't abominable. And indeed, trim the song down as Shna suggested, because right now it just drags along. Hang out in the ReMixing forum and learn a lot more, as you have a modicum of potential, and use the WIP forum for feedback before future submissions. NO

Motherfucker English, speak it do yous?

Gotta fly without the source tune for this one. Too bad too; based on the Maple Story website, it looks like a really professional-grade freeware game. Maybe someone can play that shit and dig up the source tune. If you're gonna submit from a game like this where the source material is hard to find, try and record it and send it along with your submission, Tyler. Hell, give your submission a more creative name too. Oooh, I'm being groove biased so good with the intro. Loving that low synth filling out the low end. But the melody starting up at :47 had such a generic electrosynth on the lead that it failed to effectively distinguish itself from the other sounds there. Bah, it's gonna be a generic synth showcase. The chorus (if you will) starting at 1:18 left that saw wave really exposed, and it just didn't function well here. Perhaps swap that one thing out for something else and give this mix a more unique texture. Also, that chorus from 1:18-1:32 dragged like nobody's business, repeating ad nauseum until 2:52. Don't drag that one part out like that, or at least apply some variations to it instead, cuz it's part of the foundation of the track and it made the rest of the track seem too repetitive to me despite a lot of additional elements being added on top of the groove moving toward the end. Not bad I suppose, but the composition doesn't eclipse the overly generic texture of your sounds. On the plus side, I thought the production here was pretty sweet. Everything on that level sounded pretty good. Perhaps see what you can do on the synth design level by hitting the ReMixing forum. Whatever you can do beyond, say, the 1:49 mark to vary up the arrangement would help keep the track from dragging. Interesting stuff. NO (resubmit)

That makes me a saaaad panda Ha! I knew someone would get it.

Pretty good ambient/new-age stuff here, indeed making a lot out of a little source tune. I wouldn't even bother relating this mix to "Dreaming on Distant Shores", because, as Gray pointed out, with Rellik's mix the source tune usage was far from overt. As soon as the track opened up, the source was recognizable and the atmosphere was relaxing. I thought the lil' percussion hits up until 1:23 were too tepid, so I liked when Lee beefed things up with thicker perc work after 1:24. After around 2:00, the ambiance created by the strings felt a little too muddy to me, and the melody could have shown through better, but otherwise things were good. Wouldn't have minded some more attention to the higher frequencies to make things sound sharper, but that's not a meaningful knock against the piece. I would also like to hear Lee venture into some new percussion ideas down the line, cuz I don't quite feel that what he used gelled as well as possible with the rest of the mix. We hit some nice original material at 2:44 with some very ethereal wind SFX and wind instrumentation. I liked the light stuttering perc stuff at 3:13, which was a nice, subtle way to introduce the idea of a few more stuttering perc shots at 3:20 & 3:23. A nitpick, but I also have to wonder what the point of using that stuttering percussion just a few times without bringing it back later on in the track. The source material cycled back in at 3:24 with the thick beatwork returning at 4:06, and some nice little embellishment including additional some acoustic guitar embellishments, first prominently heard at 4:08. Good way to go for another iteration, adding some new instrumentation ideas into the mix that preserved the flow, but added some more meat for a strong finish. That's something I would have liked to have seen in OverCoat's SD3 "Path-ology" mix that worked very well here. After a string of really iffy and rushed submissions, I'm really glad to have heard something more solid from Lee right here that doesn't leave any questions as to the level of arrangement. Stay consistent with this kind of stuff, and it'll be nothing but gold. You fans out there can beg Lee for a version without the drums in there, because you gamer geeks need some good make-out music with which to woo the ladies. YES

http://www.snesmusic.org/spcsets/ct.rsn - "The Hidden Truth" (ct-1-22.spc) http://www.tzone.org/~llin/psf/packs2/FF8_minipsf.rar - 404 "Lunatic Pandora" I liked the breakbeat style intro up until :21. I suppose I can vaguely see how you changed a section of Hidden Truth (:00-:12) to create the stuff from :32-1:16, and then the new bassline-type lead from 1:16-1:38, but there's basically no real connection to Hidden Truth and is a negligible connection. Arrange the stuff in a recognizable fashion please. Also the production was awful. The treble frequencies were way too high the whole time resulting in nasty clipping and distortion any time the cymbals were in play. Everything's mixed too loud and everything just comes off abrasively, especially during fuller sections like 1:15-1:38. That new electric guitar synth at 1:06 was terrible. We finally moved over into an easily recognizable arrangement of "Lunatic Pandora" at 2:00, but unlike Shna, I don't think the approach to arranging that theme here was not fine in the spirit of what OC's about. The source material, at least for that section, was nicely interpreted here. It definitely could have used a greater portion of Lunatic Pandora, but I don't mind what you used. But again, the production and levels were awful. 2:39-3:12 was still a bit abrasive and loud but was mixed decently, and I liked how you wrote the ending there. On the OTHER hand 2:17-2:38, Jesus, it's just too damn loud for no good reason whatsoever. Look, I'm not gonna lie, I'm frustrated just listening to this, because it could be sweetly made dNb track, but you keep mixing everything too loud as if it sounds better that way. Is it really that hard to tone it down? It won't ruin the track, I can tell you that. All 4 of your posted mixes are mixed a LOT more reasonably and with more balance without sacrificing power, and I just don't understand why you were mixing those tracks nicely while these recent submissions of yours are mixed so poorly. Stop clipping and start giving me the well-produced goods. As far as this mix goes, the material until 2:00 needs to have a lot more to do with Hidden Truth, because the arrangement is practically unrecognizable. And c'mon bro, fix those levels please. You're better than that. NO

http://www.snesmusic.org/spcsets/ct.rsn - "Fanfare 1" (ct-1-20.spc) & "Kaeru's Theme" (ct-1-19.spc) Opened up with some very plain orchestration of "Fanfare 1" followed by a slight variation on it at :22, slowing things down a bit. No idea what source tune was involved from :44-1:22. Maybe that was the sad song Brendan was referring to, but I had no idea what source tune it was based on the info he gave, since those weren't album tracknames. Gotta come correct with the submission info, please. The transition at 1:21 into the tamborines was a bit too sudden, though it's not a dealbreaker as it can work in many contexts. I respect the variation on Frog's theme brought in 1:29, though it sounded WAY too close to "Jib Jig" from DKC2. I dunno why it was written like that, either subliminally or overtly, but it just sounded too much like Blizihizake's "Set Sail". I can understand Shna's concerns about the exposed strings from 1:30-1:45, but I don't think it was anything terrible. The orchestration doesn't sound very believable, but that's only for the very descriminating ear. Brendan can certainly use more time looking into fine tuning his sounds so that they roll more naturally, but this wasn't awful by any means, and I've heard people make total crap with these sounds, which this isn't. I felt the arrangement with Frog's theme was the most promising stuff here, but the melody itself still could have been handled more creatively, and the Fanfare 1 stuff wasn't creative at all. Your ending also abruptly cut out at 3:25. The arrangement needs to be more interpretive and creative, and for this genre I don't believe the arrangement is where it needs to be. The orchestration was pretty vanilla and simplistic, I'll agree with Izz, but I think Bren at least some promise at improving there. Keep at it, sir. NO

I liked the first more than the second half, as I get my chill bias going, but this was some nice work. Certainly not one to pass up...for the ladies! Nice stuff, Dale & Pat.

Aw crap, I accidentally left this in my PM box since May 31. Shit, sorry Jimmy, let's get it back on here. Original Decision: http://www.ocremix.org/phpBB2/viewtopic.php?t=50560 I wanna apologize again to Jimmy for overlooking his resub in my PM box. He did some good tweaks on the first minute to more overtly incorporate "Go Down" into the intro, so my arrangement concerns with the track were fixed. This took a similar approach to SuperGreenX's "Kick Your A" where the source tune was generally placed in the background and a new lead melody was created on top of the source. After getting the breakdown from Jimmy on how he had used five different sections of the original within the piece, I'm glad to pass it. Let's break it down so this doesn't run into any problems this time: The supporting baseline that faded in at :11 and lasted until :56 was arranged from the intro of the source (:00-:14). The synth from :56-1:22 was arranged from :28-:53 of the source. The orchestral strings fading in at 1:32 and lasting until 2:21 were arranged from 1:40-1:54 of the source. The music from the part with the voice clip (2:22-3:16) was arranged from 1:11-1:39 of the source. The secton from 3:18-3:47 was arranged from 2:23-2:44 of the source. Like I said before, I definitely felt that the track sounded a lot like the Unreal style, but I was totally wrong about the level of arrangement the last time around, as the arranged sections taken from the source tune were used regularly throughout the track. Aside from pointing out where the actual arrangement was, the original additions made here by Jimmy definitely felt like a natural fit. I know you mentioned to Alexander Brandon that this was gonna be something you submitted, so I hope other Unreal fans appreciate it as well. Nice work on this third mix, bro, and I look forward to hearing more from you whenever you're able to get back in the game. Congratulations on the upcoming marriage! YES

Nice work, n00b! And by that, I mean Sam. As for brick, read the submissions standards sometime. This had shit to do with FF for the major majority of the track and the filesize was too large regardless. NO thanks.

http://www.tzone.org/~llin/psf/packs2/FFX_psf2.rar - 307 "Song of Prayer ~ Shiva" I appreciate the go at trying to fit this under 6MB, Shawn, but the encoding here was way too lossy. 5.46MB leaves some breathing room space-wise, so I'd go for a VBR encoding and try and get a lot closer to 6MB. The track had a lot of spots where the sound was too loud and cluttered, and the track lacks clarity, though the bitrate can't be completely blamed for that frankly. Nonetheless, the 128kbps version over at VGMix sounded decent, so I dunno why this 96kbps version sounds so much worse in comparison. In any case though, there's nothing here related to "Song of Prayer" in this track other than the sampled vocals, and that don't jive. The music itself has to be derived from the source material. I dunno where you found JJesper's piano arrangement that you based the chord progression around, but it doesn't sound a bit like Song of Prayer; probably another track like this one where the artist added original music underneath Song of Prayer vox. If you removed the sampled vox from this piece, poof, no rearrangement. NO Override I've liked your past stuff including Resident Evil 2 "Ada's Groove" and especially your CT/FF7 collab with auxiva "Lavos vs. Jenova (GTA3 Apocalypse)". Why not encode that at 128kbps or in VBR and submit that instead?

http://exotica.fix.no/tunes/archive/Authors/Game/Huelsbeck_Chris/Jim_Power.lha - mdat.ingame_3 I used DeliPlayer to check out the source material. This was a decent genre adaptation, not uncommon in the Commodore mixing scene. I liked some of the slightly altered support instrumentation ideas, and I'm certainly glad that this wasn't a rip, but aside from that I didn't feel as if there was much going for it creatively. The arrangement wasn't very expansive or interpretive overall and the track clipped like it was getting paid to. Good cover-ish mix, but it rides on the strength of Chris Hülsbeck's original material. NO

http://www.zophar.net/nsf/ninja_ga.zip - Track 9 [NES version] http://www.snesmusic.org/spcsets/ngt.rsn - "Mine" (ngt-120.spc) [sNES version] Good stuff with this one. Played it back on VGF59, and knew it would be here relatively soon. Some of the steel-string guitar plucks really get up there in volume. Scale it back. Bah. Anyway, Don had another nice mix, this time a bit more conservative but certainly not without its personal flair and charm, and plenty of expanded instrumentation ideas. Everything was stylish and varied as far as the arrangement went, and there's not really any question about that. Dunno if DarkeSword will feel that this mix was also plagued with the punchiness of "Flurry of Frozen Fury", but in any case I had no doubts that I liked this, though the production work wasn't as solid as it was in Flurry. The mixing became an issue during some of the fuller parts, most notably the last little bit from 3:49-4:04; the volume was excessive and the sounds cluttered together a bit. Something to work on in the future. Keep 'em coming! YES

http://www.tzone.org/~llin/psf/packs2/Chrono_Cross_psf.rar - 113 "Leaving the Body" I liked how you toned down the volume a little bit and eliminated some of the needlessly loud high frequencies from last time, like the cymbal activity. But aside from that, there really wasn't much difference in the production here as compared to your last version, which I kept because I liked it a hell of a lot. I see that you added panning on those synths from :40-:54 & 2:06-2:20, and I liked the idea there, but that was the only significant panning idea involved in the whole track. Nonetheless, those sounds were very clear. Same goes for that saw-like synth you added in from 1:25-1:52. You should pull back the volume on that particular synth, but that sounded clear and crisp as well. Any idea how to get the rest of your track sounding like that? The track did sound noticeably cleaner than before, but it still sounds too distant and muffled. Check it out on some good headphones. I'm glad you didn't change the arrangement though. No need to touch that gold. Sorry my man, but there's still a lot of work to be done with the mixing on this track. It really needs to be overhauled from the ground up. Really get things sounding awesome before you try resubmitting it again. Also, PM a judge to check it out for a resubmission instead of submitting through djpretzel a second time. You could have saved yourself a lot of wait time. NO (resubmit)

Hahaha, so fucking dope! Though the instrumentation obviously doesn't sound human, this was some stylish stuff, and I thought it the MGS2 Main Theme was excellently arranged for salsa. I loved simple but effective ideas like using the piano on support to play chords from the original. The movements on the intro strings strained for credibility and realism, leaving me underwhelmed, but once things kicked in at :31 things were a lot more positive. The lead horn could use some more work, but the effort there along with the effort in the rest of the instrumentation was commendable overall. Loved the baseline, shakers, and percussion. Great stuff. The sudden-stop ending left me muy triste because this could have wrapped up more strongly and creatively, but otherwise, this was some nice shit. If anyone rejects on the grounds of "make it longer" or "make a better ending", I don't have a problem with that, but I myself felt the rest of the track made up for those issues. Nicely done, Jorge. I look forward to hearing you develop and improve with future work. YES

http://www.zophar.net/usf/pdusf.rar - 26b "Air Force One: Anti-Terrorism" Not a bad original intro here for the first 40 seconds or so. The soundfield was cluttered and the mixing lacked any polish, but the groove was decent. The lead synth entering at :43 finally brought the source's melody into play. The arrangement mostly proceeded with additive ideas gradually coming into play until 1:36 removed some ideas, which didn't really retain my interest in this case. I thought the structure was too repetitive. Nothing melodic changed until 2:28, which was just over halfway through the track. At that point, there were nothing in the background driving the track along, since the bassline had been removed, but some cymbal work finally filled things out a bit around 3:03. Even just going into 3:30, the track really dragged along with further repetition. Either trim the repetitive fat off this or provide some more variation in the arrangement. Also, find out what you can do to achieve a better speration of sounds here, as well as perhaps add some other support instrumentation to give this track some drive and direction. Good stuff for a first sub; you had some good ideas and as well as the potential to make some powerful sounding stuff in the future. NO

http://www.snesmusic.org/spcsets/mpnt.rsn - Creative Exercise (mpnt-09.spc) I ended up not feeling anything I've heard from the happy hardcore genre so far, but I think that's because I haven't anything awesome from the genre yet. Palpable's take on it certainly has a lot of potential, but I don't think it lives up to his previous tracks just yet. Not a fan of the keyboard being so exposed like that from :12-:33 & 1:59-2:10; just sounded really tacky and default-ish. The lead coming in at :35 did a nice job of relegating it to being the support instrumentation. When the keyboard was prominent and exposed it sounded awful, but in the back it added to the track nicely. The chorus from :58-1:08 would be all kosher with me if the volume didn't get so loud the and soundfield wasn't so swamped. The texture of the synths, keyboard, claps, orchestral stabs, beats, etc, felt awfully thin to me, and I felt the arrangement should have done something more with the theme from 2:22 until the end, rather than retread what you already laid down before. Good stuff so far, but I feel as if it could be more in regards to the instrumentation, as well as the arrangement in the second half. NO (resubmit)

Opened with some MIDI-grade instrumentation with the strings; very artificial sounding. The wind stuff was a bit better, and the vox was average. Not many elements were in play here at any give time, using reverb/delay on the vox to fill up the soundfield instead. Not a bad tempo change around the two minute mark. That hand percussion stuff that came in at that time was too loud/prominent over the top of the other sounds. Finally some meat to the arrangement with some brass at 2:57, though for me that's too little too later. The soundfield was pretty swamped from that point onward. Not bad, but nothing that varied much in the arrangement or stood out as interesting. Keep at it, bro. Definitely not bad at all for a first mix. NO

http://www.tzone.org/~llin/psf/packs2/FFX_psf2.rar - 405 "People of the Far North" The opening piano sounds too synthetic and unnatural and just doesn't work in this context. Vary up the velocities and add the human touch to it. The production is awfully mediocre and lo-fi for some reason. The percussion is flat, and Jill's voice sounds poorly recorded and lacks clarity. During the busier sections, her voice needs to be brought up in volume. On top of that, I felt the arrangement was way too liberal and doesn't sound a thing like "People of the Far North". Dan & Jill both make good work, but the mixing needs to be reworked from the ground up. As for the arrangement itself, I dunno if anyone else will agree with me after listening to the source, but I can't pass the arrangement in its current form. I'd certainly give it another shot if it was resubmitted. NO (resubmit) EDIT: Arrangement not an issue, plus the production has been subtantially overhauled by Gray. The revised vote's at the bottom.

http://www.zophar.net/gym/SK+SONIC3.RAR - 07 "Hydrocity Zone 2" Waiting for something to happen with the source material. Atmosphere lacks clarity. The arranged strings at :21 and the low pad played strikingly different notes from the original melodic progression, so that threw me off a but. New stuff at :46 with the lead that made a nice connection with the source. The horns first used at 1:05 sounded very fake. 1:30 briefly shifted to the Hydrocity Zone melody. Aside from the supporting synth, the arranged material from 1:45-1:59 sounded nothing like the source. Not really gonna comment on any other specific section, because the whole way through I was just getting a lot of brief verbatim source tune sections surrounded by beatwork and then original/overly liberal sections that are inspired by Hydrocity Zone. Needs to have more melodic interpretation of the source material, rather than use this current approach. Production also needs to be sharper and livelier, because a lot of the instrumentation felt flat to me, but it's better than most subs we get. I liked the string-based ending, but I'm not sure why that gunshot ending was in there. NO (resubmit)