Liontamer

The pops are definitely an issue, but if there was no re-render available, I wouldn't go conditional on this vote; the minor pops there wouldn't preclude me from passing this as-is, so it's very important to keep that thinking in mind when applying conditional YES votes. If the track simply can't be passed as-in without tweaks, only then should you go conditional. No matter what, we should still try to get a version sans pops, but nothing's holding this back from unqualified approval, IMO. This was a well-structured medley, and I enjoyed both the flow of it and the story behind this special all-women collaboration. Nice work, y'all! YES

I'm having a hard time identifying how all of the source tunes are referenced here. I realize several things are just cameos, but if someone else is more familiar with these FF7 Remake and FF7 themes, I'd appreciate anyone chiming in with some timestamps. Sounds good otherwise, and will await more information. EDIT (2/3/23): OK, I'll do my own! :00-:05, :16.25-:20.5 ("Main Theme of FF7") :38.5-:51 ("Jessie"/"The Look on Her Face") :53.5-1:15 ("A Broken World"), 1:15-1:24.75 ("Return to the Planet"/"A Broken World"), 1:24.75-1:59 ("A Broken World"), 1:59-2:27.75 ("A Broken World" - 2:59) I didn't recognize the "Opening - Bombing Mission" theme cameos, but some keen listeners can go for it. This presents like more of a cinematic cue, and that's just fine with me. Sorry for the wait, Sara, and welcome aboard! YES

The arrangement is conservative but reasonably personalized in its presentation. The instrumentation lacks body/depth/realism, so I would have liked more effects in place to not expose the samples; an arguement could be made that what's here is serviceable, but with a more intimate sound like this, it would have been a stronger product to mitigate those issues, particularly the piano if nothing else. Good adaptation to the new instrumentation, but it's really dancing on my borderline of being passable on production, and I could justify a NO (resubmit) on the piano alone. No strong issues if this passes as is, but I feel this needs one more pass at the production/mixing to give the piano a less mechanical sound and thereby lift up and place the overall piece on more solid ground.

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Props for having a great uncle with great musical taste.

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I don't think that's quite it, but this question's bothered me for years. Save us, @sgx, and confirm what that voice is saying!

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The track was 4:31 long, so I needed to identify the source tune referenced for at least 135.5 seconds for the source material to be considered dominant. :51-1:30, 3:11-4:00, 4:01.5-4:31 = 117.5 seconds or 43.35% overt source usage That breakdown aside, there's obvious chord progression stuff going on from 1:33-2:36 where the explicit progression heard from :01-:15 of the source by the bassline is (very) quietly played in the background here, but the mixing is a lot less crisp and distinct than it should be. You mileage may vary on counting that connection, but it's defintiely there, just extremely quiet. The arrangement's fine IMO, and I liked the overall flow and dynamics. On the negative side though, the key change at 4:01 back to the original arrangement style was sudden and needlessly awkward, though you can get used to it over time. The ending also cut off, but that can be touched up with a fade. It's too bad the original file's lost, because the mixing's definitely lossy-sounding; one small exmaple is how the detail of the vox accents at 1:33 are practically non-existant. Same with some padding from 3:36-3:55; there's an almost shimmering tone to it that's decidedly lost in the murk. The mixing being needlessly indistinct drags down an otherwise strong and solidly put together arrangement with great energy. That said, what's here works enough to where the lossy-sounding mixing still doesn't make it a NO for me, though it was close. It's got its issues with source dominance and production, but I can get beyond them in the big picture. Interested to hear what others have to say. YES (borderline)