Liontamer

https://makeupandvanityset.bandcamp.com/album/heart-of-batman

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So I was working in the inbox this morning and saw an unhappy resubmission from Lashmush (resubmission comments added into the OP). I hadn't voted on this one, so I wanted to check it out. We never mind checking things again if the artist has complaints on the feedback. I don't agree on tracks being passed by the "inner circle" being the "usual fare", but I appreciate you being candid! I linked the version the panel originally voted on as well as a remastered version that was sent as a resub. I didn't really hear any significant difference between the remastered version and the first one, so I'm just voting off of the original version. BTW, I'm voting on my trusty Sennheiser HD 497s. (Thanks, GrayLightning!) This was a very aggressive yet expansive arrangement that I dug. Great source tune choice and this is beefed up nicely. I definitely understand where the others are coming from on how this was mixed, e.g. :31-1:08, and then 1:28-1:47 with the machine gun drums. Genre staple of production or not, I'd argue the bass creates some mud and obscures the other instrumentation, and that's what other judges hinged on. We certainly don't require crystalline clarity, but I could see dinging it for that reason. That said, that area (:31-1:08) actually didn't bother me, and I felt like it added a kind of rumbling, unsettling undertone with a kind of a surrounding effect that added texture. I didn't agree that the mixing was a dealbreaker and I could make out the instrumentation enough; less so from 1:28-1:47, but IMO things were fine from :31-1:08 and I could make out the critical partwriting just fine. 3:26-3:45 had the bass crowding as well (but, again, it was fine for me), then 3:45-4:03 was another run of machine gun drums towards the finish. I thought the machine gun drums were too heavy, but at the same time, nothing was distorted, so I can get over it. The mixing was super strong for the entire rest of the track, and I'm not feeling like that problem sections pointed out by the others were a significant enough issue, subjective or otherwise, to hold this back. From the sound of it, Rasmus would like the NO votes to offer some further feedback; to some extent, I feel he's right about this not being given a fair shake, inasmuch as there happened to be another judge (me) who didn't feel this was a NO who just hadn't voted. So I'll move this back into the judging queue and add my YES, which splits the vote and re-opens discussion. It's not a table flip, but at the very least, I thought this mixing wasn't ideal, but also doesn't hold it back. Let's get some more votes and see if anyone has further thoughts. YES

I really dug the opening sound and build with the Castlevania 64 focus before the shift into Symphony of the Night. Nice grime underneath the main SotN source melody at 1:25; love the textures. The beat from 1:56-2:10 sounded too treble-heavy, and was crowding out other sounds, but didn't last long. Really enjoying the energy throughout; Andrew just has it clicking all the way through so far with a beefed up sound and lots of additive supporting writing to give the sources a different, more club style. More great grimey sound underneath the piece from 3:21-3:36 coupled with the organ. 3:35-4:40 did rinse and repeat 1:25-2:28 (booooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo); the subtle countermelodic stuff going on underneath totally faked me out and made me think it was a slightly different variation at first. The piece was already interpretive enough and structurally varied enough without the copy-pasta, so IMO that doesn't drag it down to a NO, but it was disappointing that some sort of variations weren't employed to keep the closing section from being such a retread. What a horrible night to have a copy-pasta curse... YES

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Message me a copy of the 160kbps version, if you have it.

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I get the problem with the accordion, but it's not a dealbreaker at all for me, and the presentation's cohesively rocked out. Let's go! YES

I love the piece in a vacuum. It's jazzy, it's tightly performed, the treatment of the source tunes (which are variations of the same song) was creative, and I didn't have any problem with the mixing or levels. But I was coming up just a little source-light in terms of identifying where the source tunes were referenced in the arrangement. The track was 5:11-long, so I needed to identify references to the sources for at least 155.5 seconds of the arrangement for the source material to be dominant. :23-:58, 1:01-1:05.5, 1:07.25-1:38.5, 1:48-2:11, 3:36.5-3:59.5, 4:02.5-4:20, 4:26.25-4:44.75 = 152.75 seconds or 49.11% overt source usage. If another judge can point out some source usage I'm overlooking, then please let me know. Since my breakdown is so close, I'll leave it at not making a call yet, but I need >50% for the source material to be dominant in the arrangement, otherwise it's a NO from me. EDIT (10/24): I'll also count :19.25-:21.5 for the 4-notes having a different rhythm as the 4-note patterns in the melody (e.g. :06-:11 of "Ice Mountain"), and 1:41.5-1:43.5 having the final 2 notes from a 4-note pattern (e.g. :08-:11 of "Ice Mountain"). That pushes it up to 157 seconds or 50.48% overt source usage. OK, count me in. YES (borderline)

Hi OCR, I hope you guys are doing well! Nostalvania here with a new remix submission! - Remixer Name: Nostalvania - Name of game: Super Mario Galaxy - Name of arrangement: Where Hot and Cold Collide - Name of individual songs: Ice Mountain, Lava Path Sources: Ice Mountain - https://youtu.be/rvnaiyu2R0E Lava Path - https://youtu.be/tY3REzIfvuk Remix: Note: Since I'm not the best at mixing/mastering, the track came out relatively quiet. That is to say you would have to turn up your volume a bit to get the full experience. Not sure if that's gonna be a problem. - Comments: This remix was originally supposed to be my contribution to a Super Mario Galaxy album which unfortunately got cancelled. It's a shame, because I always thought that the track had a lot of potential. Now after several years, I finally had the time and patience to finish it. The result is an energetic jazz arrangement in 6/8 time, which alternates between organ and piano as the lead instrument. The more busy/energetic organ sections may be interpreted as hot/fire, whereas the calm/open piano parts are more reminiscent of coldness/ice. Hope you enjoy! -Markus

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Welcome back!

Nice opening SFX, but the intro notes at :04 were sparse, so we'll see where it goes. The English pronunciation's not good; the lisps and (I dunno the technical term) slurps affecting the delivery don't help either, but can't be helped to some extent. For me, it's not that criticism of the English pronunciation's not merited, but if this were a foreign language, it wouldn't stand out or inherently bother me. The more important thing to me is how the syllables are shoehorned into the melody's timing, which feels forced, but it's an earnest approach. The overall execution for the first 90 seconds was solid. Another minor thing, but there's some light hissing/warbling noises from 1:16-1:33 & 3:37-4:16 that seemed tied to a sample, or at least doesn't sound intentional but rather like an audio artifact; double-check if that can be removed. I wouldn't have brought back that anemic-sounding melodic line at 1:33; the sound is too bubbly, dry, and thin, and the timing too rigid, so it doesn't click with the other instruments at all. When the vocals come back at 2:13, the mixing's odd, IMO. The vocals are chorused but relatively dry, while other elements aren't, so there's another instance where parts don't mix well and thus don't have synergy. Nice effects on the vocals at 3:14 for the transition out of them though. I'd argue the arrangement was creatively approached but dragged on too long. There's dynamic contrast throughout the piece, though it's worth noting that the piece "peaks" with basically the same energy level and textures in the :50-1:13, 2:34-3:16, and 4:40-5:06 verses; some more obvious differences between these verses would be helpful. This piece has promise, bros, though I'd like to hear a version with a new take on the vocals -- preferably de-essed, not as dry, and with clearer pronunciation (not perfect, just clearer) -- more balanced mixing between the parts, and considering a change in the synth line first used at :04. NO (resubmit)

Right off the bat, the backing synths were very static-sounding. Everyone's given extensive feedback on how vanilla these sounds are, so I'll leave it there. Brief issue, but the drum fill from :25-:27 sounded very robotic and fake; I would have went with a different, non-faux-organic sound that didn't expose your samples. At :41, I would have done something different with the textures, because just changing the leads yet keeping the beat and backing so repetitive made this feel dynamically flat. Then at 1:44 with another iteration of the verse, the core backing beats just drone on ("BOOM...TSS...BOOM...TSS"). Just jump around to any point in the song and the energy level is basically the same no matter if the beats are there or not. The choruses at 1:09 and 2:19 had more personalization, and were the highlight of the arrangement for me. However, the textures feel very empty/hollow despite everything going on. Small thing, but I'm not sure what SFX that was from 2:46-2:54, but it sounded so muffled that it just added indistinct noise and clutter. The verses could have been more interpretive. The production also wasn't sophisticated either. Keep at it though, we've all gotta start somewhere, and this is a more promising start than most. NO

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