OceansAndrew

I'm pretty torn on this one. It's pretty repetitive, and I hate the samples (sample bias omg), but there is some really good stuff in here. The synth runs are nice, and the tone on them is good, as opposed to the pretty fakey sounding guitar synth, which grated on me. Melodically this worked pretty well, but I think the rhythms were kind of samey. Bah, sorry for the harsh review, I think the overused vocal samples colored my opinion for the rest of the track. Great synth noodling though.

I love the source on this, easily my favorite from the original soundtrack, which was actually the first original game soundtrack I bought (or maybe it was Xenogears. Whatever..) Way overcompressed I think, but it's catchy as hell, which I suppose is a suitably appropriate way to describe such a mix, with the vampires and demons and all. Nice variation between the 2 sources, and the transition was drawn out long enough that it wasn't noticeably apparent until the shift had already occurred. Arrangement-wise it's completely solid, with some great additional ideas thrown in, and a disco party beat to boot. You don't hear castlevania music arranged like this often, and it's really a cool direction for it to go in. The only issues I have with it is production. It hurts to listen to for extended periods of time.

This is one of my favorite tracks from the soundtrack and Ailsean improves on it in just about every way. The piano fills out the space well, and accompanying the vibes melody are some peaceful synth gated washes. The soft white noise (ocean waves I can only assume) that came in with the flute was a great touch and improves the mood even more, as well as the choir. My one complaint would be that it would sound a bit better if it was lighter on it's feet, so to speak. Less low-mids and more high-mids. Very subjective, I know, but if you don't like my ideas, write your own review. As far as interpretation, there isn't much; it sticks to the source very closely, but I think it expands decently enough on the original to bring something new.

I love midi and there were a few amazingly sequenced ones in there. Thanks a lot for organizing them all for us!

Ok, what the heck, how does McVaffe make this always sound so easy? Beautiful mixing of all kinds of instruments and beats with a cheerful and energetic melody. This is something I'd expect to hear quality-wise today, and this was first submitted in the "dark ages"; almost 7 years ago, when midi rips and bad techno were much more prevalent. It just shows how far ahead of the game Mcvaffe is. I'm stretching hard to find some sort of fault in this, and the only thing I think that could be improved would be maybe some of the pan flute. A little more feeling to it would have strengthened it. However, the accordion and piano are flawless. The accordion especially. This is a completely amazing remix that pushes all of my buttons, and then even pushes a few I didn't know about. McVaffe for president!

A totally mechanical beginning with a heavily processed pad really fits the "icy robot" bill, and when all kinds blippy synth percussion comes in, it fills things out pretty well. The brittle lead works well in giving it a frozen demeanor. The vocal sample's placement I don't quite understand, but it brings the chorus in pretty well as a fill, so i'll not cry too many tears. They'd probably just freeze anyways. The track is pretty minimalist, but it seems even so, it's too repetitive for my tastes. I just kindof lose interest about halfway through once the mood is established. Basically it starts out strong conceptually, but then gets a bit complacent.

Pretty cool soundscape, the fact that the synth guitar sounds very un-guitarlike actually is a strength, and gives the mix a lot more longevity. Sortof like that uncanny valley concept, only for sound. Another thing going for it is the large amount of modulation on it, and some judiciously-used effects. The lead switches up for a few renditions to keep things fresh, and underneath is an understated beat as well as a synth backing that bubbles up, as if the whole song was a big pot of delicious Diddy Kong stew (which is more than he deserves, the little bastard). I think the lead synth guitar sounds better than when it is used in a rhythm context, but for being as venerable as the mix is, it stands up pretty well. Some more variation in the sections would have improved it, but it's still very listen able.

What a find! I must have not heard this track before, because something this good I would not so easily forget! The flute is a little dead sounding, but it's still a good sample. Beyond that it's pretty much perfect. Great beats, excellent synths, and very creative progression throughout. There's a lot of attention to panning, making it sound super awesome with headphones or in an area with spread out speakers. The synth arpeggio along with the syncopated bass give it a very driving feel, and when you throw the fast paced loop over it, it evokes a serene and starry night sky above and driving purpose below. Add a B section and double the length, and it'd be completely amazing. Super recommended, this is complete quality.

I'm having a great time with it; it's pretty standard SRPG but good voice acting, excellent art, and the music is superb. However, after doing some research, it looks like Mitsuda only did a track or two and Akari Kaida did most of the heavy lifting on the soundtrack. When my cd arrives i'll probably know exactly who wrote what in it. Regardless, the music is excellent. I'd say go for it.

I spent about 8 hours playing Luminous Arc this past weekend and there are some real gems in there too. I actually didn't know that he has composed the music until I went looking for a soundtrack. The menu screen and the music box "learn about your homies" tracks are my favorites thus far. Perhaps a Mitsuda renaissance is upon us?

Probably one of my top 5 favorites from the Voices of the Lifestream project, mainly because of the added descending chord progression; it's one of my favorite progressions, and to hear it in it's entirety, at about the perfect tempo is awesome. Shallow? Maybe a bit, but there is plenty more to enjoy about the mix. I agree with the consensus that the cello is a bit too exposed early on, but i think it blends much better as an ensemble instrument once some additional background layers are added in. I think live would have been the way to go for such a prominent part, but as is, it does a good job. The guitar has a great tone, just a light dusting of grit, and really nice phrasing. Very tasteful. Organ, vibes, and rhodes finish it off. Excellent. Very classy and understated. Check this one out, guys.

Pretty generic electronic quasi-trance. Some of the pads are pretty lo-fi, causing this to be less effective due to it's simplicity. If the sounds themselves were richer I think it would have kept my attention better. There's some decent counterpoint going on, but it doesn't really add any color to the song, only texture. The beat is total autopilot, and the bass is wimpy. Sorry, I'm not really a fan of this one. The only thing keeping it going is the fact that it is Icecap.

Holy shit >_> this is an awesome mix! The lyrics were whatever; I think they kinda sucked, but they were faithful. The singing is really good; very emotive and the harmonies are solid as well. What really sells this mix is the excellent instrument choices, as well as performances, and the arrangement is stellar. The accordion and guitar work very well together, and the playing is excellent. The progression of the song itself is also expertly handled. Very exciting changes and the transitions are great. File this one under "misunderstood classic".

Lagoon - Opening http://www.vgmusic.com/music/console/nintendo/snes/LagoonOpening.mid

When it starts, i'm ready for the final countdown, but it changes pretty quickly to a party vibe. I love the lead synth, but don't think it completely fits with the tropical party vibe. I think having a backing synth would help mix things together a bit more cohesively, and there are some sound effects here and there that somewhat fit the bill, but they only really occur at transitions. Source-wise I dig it, my computer class in high school used to crank this song up every day to get motivated. Even now I get motivated from it. Motivated to DANCE ON THE BEACH!! YEAHHH!!!

This doesn't waste any time to get to the rocking, and it's definitely the way to go about it for the source. The synths are very cheerful, and I am am digging on the strong thwack of the snare. The beat is a bit straightforward, but more of the changes occur in the synths and the harmonic progressions anyways, so there is plenty to keep you interested. The rhythmic patterns do tend to get repetitive, though, and the drums are auto-piloting away, making this mix a bit less than amazing, though once in awhile we are thrown a fill or two. A decent dance tune, check it out.

I might take you up on storm drum, i just need to get permission first. >_>

I have to admit when I first saw this was a sub-100 remix I was pretty worried, but I breathed a sigh of relief when I saw that it was po!, who is nearly always on top of his game. This mix is very much laid back, and not only is it slowed down, but there are some cool rhythmic and harmonic changes sprinkled throughout. Though in a few instances it is almost too sparse, it is kept inflated by the rotary epiano, and the super clean beats. Hearing the melody slowed down to a crawl actually makes it sound cooler i think, as it takes on a more sinister feeling. That feeling is softened a bit by the sample used, but hearing this is very refreshing, and gives me a whole new perspective to look at this melody.

The drums could really have benefited from a consistent hi hat instead of just being kick and snare. There are occasional percussive hits like a tambourine, and I think i heard a little bit of hi-hat in there, but it's not glued together otherwise. The soundscape is pretty empty in a few places, and the guitar and bass are machines cranking out the notes in a mechanically perfect manner. Some of the sound effects are cool and fill some space, but the lack of hihat really really hurts this. My brain is actually adding the sound itself, which is all kinds of weird. Things fill out better once the brass joins up, but there are too many sections that feel unpolished for me to really get into this one. Sorry dude.

zomg you mean he didn't mention how much he liked the radical dreamers project!!!??? Pretty interesting interview; I actually think he works best when his setup is stripped down. Compare his upcoming track from Gaia where it's all mid-level sounding synths to the pretty sleep-inducing Xenosaga 1 soundtrack which had a full orchestra. I think that if he was going to use an actual orchestra, he shouldn't use it as a crutch, and still have interesting songs.

The percussion was great, if mechanical in a few places but it was overall far too empty, frequently just displaying the melody without any accompaniment, and occasionally having a bass part come in. It needs to fill things out more. THe trumpet sample was pretty weak and super robotic, as was the pan flute. I think this mix could really shine if the mixer went back and updated it; it's got a very strong concept, the execution is just where it is lacking.

It's true! He is more machine than man now; twisted and evil!

The only problem with a melodyne is that you will sound 100% exactly like brad.

He's looking to make signatures, not start a business. I don't think he'd be a potential customer unless his needs changed.

gimp has a terrible interface compared to Photoshop, but it's free. Go with that.