Liontamer   Judges ⚖️

Lots of swirling around the stereo field for an interesting opening on headphones. The beat arriving at :33 felt relatively basic, but let's see what else enters the picture. The change into 1:15's section was very disappointing; the textures felt way too empty and this would only make sense as a purposeful contrast with the track then quickly filling out. Same at 1:59; you've just got some basic beats/claps under the "Another Medium" melody, the piano also feels super robotic, and there's not that shift to complexity and fullness in the writing and textures. The final three notes at 3:32 were flatter than a plate of piss; let that ending breathe more. :'-( The musicians Js could better articulate how to flesh out this piece, because you've got a lot of potential in terms of the melodic interpretation. However, there's an additional level of depth lacking in the writing. The piano sequencing was rigid, the percussion was usually too basic and texturally thin, and the overall execution felt like it never rose higher than second gear. Although you may not be able to polish up this one into a pass, Dylan, there's some potential here; definitely try your hand at improving this one if you're still open to it, otherwise I look forward to what I know would be another promising future submission. NO (resubmit)

I never heard the original submission, so I'm hearing this fresh. Pretty sinister take. I loved the dynamics and constant instrumentation changes; they never felt like a gimmick or changing/evolving just for the sake of. Minor production crit: 3:18-3:49 was definitely cramped and I would have liked the line referencing the source to be more audible there. However, it was brief and at least contrasted with other parts of the track where it was more prominent. (Small thing, but props too for making a seemingly sudden ending also fade out properly.) Very creative take on the source tune, Chris! YES

Just FYI, I've only heard the revised track. Damn. Wow. Just a jazzy tour de force. Amazing arrangement and musicianship! YES

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Gian reached out to me on his own and was looking to revise this and make the opening build stronger. I shared with him the existing votes, which he appreciated, and we were both on the same page with seeing the potential for improvement. We'll hold off on further votes until we get an updated version.

Quick props on this one. Nice approach going expansive with new part-writing to build upon such a minimal source. Cool approach! YES

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Love this source tune and looped it incessantly 15 years ago. Rebecca did a nice job applying her new age, organic-minded instrumentation approach to the source material. There were times the familiar belltones of the source were very deemphasized, so I could see some listeners wishing that weren't the case, but that was purely a subjective thing, and I can appreciate the change in textures and energy here. The track can seem directionless because the source melody is downplayed, so I wouldn't be surprised by criticisms like that either, but I wasn't bothered by that approach. Nice tempo change around the 4:20 mark towards the finish, BTW. There are things that make the presentation different, and I'm cool with that. Overall, a solid, albeit subdued, arrangement approach. YES

RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Chrono Cross Song Title: Guldove Shaman Songs Remixed: Earth Dragon Isle Here’s a link:

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Folding@Home has also been doing protein folds for COVID-19 research as well, so if you've dorpped off, now's a great time to get back to running the program on your computers, folks!

The bowed string articulations definitely aren't the best/most realistic, but they're serviceable enough. Rebecca always does a good job fleshing out her orchestrations and giving them plenty of character and textural variation. There's some dynamic contrast in play, but until 2:41's shift into a winddown phase, the overall energy level was flatter than it should have been despite the constant instrumental changes; playing more with tempo or rhythmic variations could have helped there. Yeesh, there's no ending though, with a very sudden cut-off at 3:24 that would need to get fixed so that it properly tails off. On headphones, I'm also hearing some very light static/pops (e.g. :20-:29, 1:22-1:25, 1:40-1:48 [big pop at 1:48], 2:15-2:18. 2:43-2:48, 2:56-2:59) all over the place that would need to be removed before we could roll with this. YES (conditional on fixing ending and pops) EDIT (7/23): /listens to fixed version Cool. Pops fixed. Ending's not totally cut off, but still fades out too quickly. Bah. YES

Yeah, I could have gone for something more melodically interpretive, but the personalization of the theme was handled nicely, so there's no issues re: the arrangement. Really smooth usage of the Gaster theme at 1:29; that's really the first time I've heard it sound mysterious yet positive as opposed to scary; beautiful touch. Not a fan of the exposed keyboard at 1:59; it's a purposeful aesthetic but still doesn't really sound good. However, it's only a dozen seconds, so we'll live. The soundscape did come off cluttered, but not in a dealbreaking way. I liked hearing that grimy backing synth adding some flavor to things throughout. The core beats ultimately ended up feeling too repetitive, but there was dynamic contrast via dropoffs, and the instrumentation & textures did change around enough to make up for the thump/clap beats dragging out. Agreed with the ending being flat and sounding like a jumpy transition to an underwhelming fadeout. Overall, Erick, the beat-writing and mixing could have been tweaked, but what here gets it done in a fun way! Count it! YES

Thanks a lot for the source usage breakdown, which made this super easy to evaluate for arrangement. Fun stuff the whole way through with fun production choices throughout. Nice, spacious soundscape, and a dynamic and fun arrangement! YES

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Takes some time to build up. I actually thought the percussion was OMG TOO PHAT and should have been pulled back to give the soundscape more clarity and sharpness. The lead's not bad, but during the quieter parts, it's arguably too static and basic-sounding and could use more ear candy (not just the good countermelodic material) to pad out the textures. It fills out quite a bit in the second half though. I'd say this is still capably developed and gets by, but it's more of a borderline case because I felt the first half (from :40-on) was actually a little too basic with the writing and textures, and the production's too crowded. If this didn't make it, I wouldn't be upset, but not because I don't enjoy and respect what's been done here. This could be developed further and has obvious room for improvement, but it's still solid. YES (borderline)

Contact Info ReMixer name: Just Coffee Real name: Gian Descallar Email Address: Website: justcoffee.bandcamp.com User ID: 32271 Submission Info Game: Animal Crossing: New Horizons Arrangement Name: Together Again Songs arranged: K.K. Love Song My comments: Always take care when time travelling. Hello OCR, here's my 80's take on Animal Crossing's K.K. Love Song by K.K. Slider. For this track, I try to carry those feelings of fondness, remembrance, longing, and reunion that I feel are present in the original. I had a particular story in mind involving the Time Travel mechanic in Animal Crossing games wherein you could potentially lose a villager if you used it too much to advance in the game outside of its normal time-based progression. The original itself is very minimal in structure and I've decided to maintain it but give it a bigger retrowave energy. From the intro, there are two leads that might not sound quite 80s but I used them to represent the player character and the villager and to add a little narrative in the song. It's been a while since my last submission and I hope I haven't rusted too hard. Still, I present this work as it is to the panel for criticism and feedback, to which I always look forward to receiving. Peace! -Coffee

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I'm slammed with work.

This was a cool concept. The track did have dynamic contrast and textural difference throughout, but the relatively static beats and overall loudness actually made the track seem less dynamic than the writing intended. Agreed with MW on the weakness of the fadeout ending in this case, which is something that normally doesn't bother me, and I agreed with everyone calling out the off-key moments. I wish the mixing were sharper/cleaner, and I've heard plenty of synthwave like that, but the strength of the arrangement carries it. Welcome aboard, Ernesto! YES (borderline)

With the extended intro & outro and occasional gaps in the source usage, I timestamped this just to be sure the OoT sources dominated the arrangement, but it was more than half a minute over what I'd need for a minimum, so fair play there. I didn't mind the arrangement approach at all, and the interplay between the vocals and ocarina was a perfectly fine concept; no problems at all there, and I didn't feel at all like the lyrics were half-hearted or half-finished. The breathy, whispering style is an interesting approach, although the vocals should have been sharper and not as lossy-sounding. As far as the extended intro/outro, especially everything from 3:50-on essentially being a low-key winddown, I didn't mind any of that. Quiet or not, there were source references from 3:48.5-3:57, 4:41.75-4:47, 4:53.25-5:01 & 5:05.5-5:35 during the final two minutes, so the track's still serving as an arrangement even when it's underplayed. Criticizing the final section is just needless nitpicking in terms of what's permissible here. As a judge, as long as the source material is adequately referenced, the production is reasonable, the arrangement is interpretive, and the writing and structure are cohesive, I don't care what else you do and I welcome the unorthodox. This concept and structure of this track, whether in a vacuum or as a Zelda arrangement, are completely fine & allowable, and don't need to be meddled with. The real dealbreaker is that I heard all sorts of issues (e.g. light pops/crackles/deformations/air blowing) with Rebecca's vocals (or David's ocarina) and have no earthly idea how they survived into this render. I mean, even in the buildup, you hear air disturbing the mic at :from :15-:17 and again from :38-:40. There are unwanted sounds all over the place. There's just not enough care and attention put into handling this at all. Unfortunately, it may mean that Rebecca's vocals would need to be re-recorded, if all of these problems can't be eliminated. Too bad though, because I would vote YES if the constant artifact issues weren't littered all over. Great concept, Rebecca; see how many of the smaller audio issues interfering with the live recordings can be eliminated (or re-record the vocals) and holler back. NO (refine/resubmit)