Emunator   Judges ⚖️

I think this is my favorite rock song on the entire site. The level of emotion played out by the time the track is over is really surprising... every chord and note is extremely powerful and makes you feel involved in the urgency of the song. All the little embellishments contribute to the mood as well, and all sound flawless. I'm glad this one got resubmitted and made as good as it is today, the extra effort paid off in a major way here! One of the best remixes out there, this one should not be missed!

This track's a great starting point for Fishy, but you can really tell how much his style has evolved and matured since he started. This one almost feels a little generic compared to his newer stuff. Of course, that doesn't mean it's not totally rockin' The piano/strings section, and the way the guitar transitions back in after that's done is executed pretty well, so props on that especially!

I'm currently at around 14 or 15 reviews, add me to your wall of fame!

If you don't mind filling me in, exactly what else needs to be done if you want to make that date? I doubt I could be of any help, but if there's any menial tasks that need to be done I'll gladly offer whatever services I can to help you guys make that goal

Wow, I didn't know this was his debut mix. Even here you can see strokes of sheer talent and brilliance in the layered musical elements, and frankly it's kind of nice to have at least one instrumental Harmony mix for study music, since his stuff is always mellow enough for the task but I find myself too distracted by the wonderful vocals to get any real work done This is one helluva great start, but even that excellence is out-shined when compared to some of the gems that Harmony would throw our way later In short, this man can do no wrong

Love the growling synth in the opening, that sounds really cool on headphones The drum loop is appropriate and sounds pretty good in my opinion, it makes the song sound like something straight out of Metal Gear Solid. That said, I can't help but wonder what it might have sounded like if it utilized heavier, more dramatic percussion instead. Very underrated effort though, this one took a while to grow on me but currently I happen to like it a lot!

I enjoy the arrangement a lot, especially the orchestral embellishments. It feels fairly emotive and personal, but honestly I have a problem with the guitar tone... I don't really know what word to use to describe what I'm hearing, but especially when compared to Pot Hocket's rendition I have a hard time enjoying this one due to the sound of the guitar Sorry to say it, becuase there's a lot going for this mix but that one aspect makes it a lot less listenable for me.

This is just a lot of fun I don't have a problem with the samples whatsoever, though there were a few points that didn't quite click with me. The exposed instruments in the intro sounded a little weird, and I don't like how you randomly faded out the piano towards the end of the mix. Minor gripes aside though, you've created a seriously enjoyable, lighthearted, and a great tribute to some classic themes. I commented yesterday on your Castlevania mix, and said how I hope to hear more from you soon, so I guess I got my wish!

Dan's mixes are always so under-reviewed... considering all the hard work he must put into each and every composition, it makes me a little sad. That being said, I absolutely love this. Like your other project mixes that I've heard, there are definite moments where it all clicks and you just get this momentary feeling of euphoria. For me, it's the strings that come in momentarily at 2:31 and again at 3:28... just amazing, dude. You are a master of putting emotion into your songs, and this is one of the best examples of that. Thanks for never skimping on the arrangement, either; you've got these amazing 7 or 8 minute-long remixes that never, ever get boring or repetitive, and I think you're a perfect example of how to keep your songs fresh while still clocking in above 5 minutes. Keep it up dude!

First off, great choice of source Your happy style definitely shines brightest when you're working with a good original song such as this one. You know I love when you incorporate non-synth elements into your chippy style of music, but you seem to be able to work in strings especially well. You did the same with your Kirby mix and I thought it just sounded fantastic This was one of my initial favorites from you when I heard it on R:TS - of course, lately I've heard some things from you that, frankly, blow this out of the water in terms of arrangement and production, but you did really well here and I still enjoy listening to it

This mix feels a lot more aggressive than the FFIV mixes that I've recently come to love, which is a nice change for you. It hearkens back to some of your older mixes. The really powerful snare adds a lot to that effect. Not my favorite from AeroZ (need moar cello plz!) but still a solid effort and a nice change of pace from his most recent FFIV songs.

It could be, I might have just misidentified a key change when in reality I was hearing something else. Either way, something sounded different about the melody to me when I first heard it, I just assumed it was a key change since I'm pretty new to this music vocab stuff

My brother repeatedly tells me all about how this "rips off" Muse whenever he hears me playing it (which is often.) I don't know how full-of-crap he is, but I figured I'd throw that out there Really killer bass, drums are well-done, and the arpeggiated synths are great... all of these elements are very commanding and really work together to completely blow the listener's face off, so to speak I had no idea Danny B did this kind of music but after hearing this, I'm glad he did!

Like with his to-be-posted Xenogears remix, it's great to see Nutritious branching his style out while still retaining some of the classic orchestral-goodness that he's so good at Tempo changes were a bit strange and I don't think they were done as adeptly as possible, but aside from the transitions I enjoyed each individual section. There were a few moment of really clever percussion work in here, but towards the end it kind of lost steam You really expanded on a few good ideas and trekked through some uncharted waters, stylistically-speaking, so kudos on that!

Pachi Risu really nailed it - this track is deceiving, but the breakdown from orchestral to jazz was actually pretty well done I'm personally glad you opted to go for a funkier style rather than what you seemed to be setting up, because you did good. Some of the samples were a bit iffy but absolutely nothing to fret over, considering the arrangement quality Really killer debut track, hope to hear more from Nase soon!

No, it's because there's still 4 tracks left to be finished and (I'm assuming) the website/physical printing/final release details aren't finalized yet. Last time I checked the release was slated for sometime this month, but if that's the case it looks like the project directors will have to haul ass to get it all ready. By way of comparison, it took almost a month, if memory serves, from the time the music aspect of Humans + Gears was finalized to the point of actually releasing the album to the public. The behind-the-scenes work takes up a lot more time than most of us know.

The original writing didn't sit well with me the first few times I heard it, but I've been able to step back a bit and appreciate the song on a new level now. The soloing is really tastefully done, most of my favorite parts were actually mixed pretty far back so that they were more support pieces instead of actual attention-grabbers. Great job on pitch-bending too, that sounds awesome! I, too, have a bit of an issue with the piano/string sound, but it does capture the dreamy feel of the original and is still good enough to fit with the rest of the song. At the end of the day, this is your typical Willrock song, it's hard to go wrong with it if you like strong lead synths and a good groove. This one isn't my personal favorite from him but I can definitely see why it's gotten such a good reception.

The opening notes come on a little sharp, especially when I've got the volume cranked up. Intro aside, this one develops a funky groove with some great instrument choices. The piano chords (and the piano playing in general) in the background are definitely a highlight for me, they're very commanding and help pace the song well. All your tracks from the album have a great level of respect for the source tunes, and this one's no exception, but I love how you're able to balance being true to the original while mixing your own flair in both obvious and more subtle ways. The vibraphone (or marimba?) solo at the end is definitely my favorite moment on the whole Sonata of the Damned album, it sounds very humanized and just rocks. There's no other way to put it. Classic Joshua Morse here, this one and the album as a whole should not be missed

What a quaint mix, it captures the spirit of smooth jazz that you'd hear at a fancy dinner party, but the source gives a really unique mood to the genre that I don't hear too often. I find myself zoning out really easily whenever I listen to this song, but when I really take the time to concentrate on it and use it as more than just background music, there's still a lot of intricacies to be fascinated by. The meandering piano, the subtly-rising and falling bass, and of course the cello all make this track worth taking multiple listens just to focus on the individual elements. There's even a lot to love about the drums, too, which are less of an attention-grabber but still worth paying attention to. Lots to love in this mix! One of the better Zelda jazz renditions I've heard, and there have been lots of them around this site!

Excellent work, man The updated version sounds a lot more personalized and unique compared to what I remember hearing, and the sound effects actually add a lot to the mix in this particular case! I haven't listened to this with headphones, but it sounds like there's a lot of fuzziness/clipping when the sfx come in, you might want to listen for that and see if it's too cramped down in those frequency ranges. Is this one going on the DKC-Atlas remix project?

Sixto really killed on Summoning of Spirits... four absolutely stellar tracks all in their own unique style. That being said, I think this one is the weakest of the bunch, stylistically-speaking. The violin adds some flair to it, and it is arranged very intelligently but compared to his other mixes it seems a little generic. It's a stellar track for sure and probably still one of the best ones on the album, and that's saying something about Sixto's level of talent, creativity, and commitment The only thing you can really compare this to is the other three tracks that Sixto himself contributed. Keep at it, dude! EDIT: Also, this hardly even needs to be said because it's basically assumed of his tracks by now, but Sixto really tore it up on the solos here. Just considering that sole aspect of the song, I actually think this might be his strongest effort on the project

This one took a while for me to come around too, I'll be honest. Harpsichord never really sits right with me, so I wasn't a big fan of the intro and honestly I think I skipped over this track initially because of it. It's not any fault of the mixer, I just don't like that sound. Luckily, on subsequent listens I found out that there was more to it, and since then I've actually enjoyed the song a lot! The synergy created between the mellow guitars and the ominous strings is very strong. CPac did a good job not only with playing the instrument, but also creating a great tone that really fits with the mood of the song. Misleading intro aside, I really like this one. Nice work guys

I've been looking forward to this one ever since I saw it queued a while ago. Banjo-Kazooie can't get enough love I can't say I was a fan of the key change at first compared to the source, but in time I was able to forget about that and appreciate the song for what it was worth. Once I made it that far, I actually enjoyed it a lot. It's not quite as edgy as Audix/Neko's BK mix but the energy level definitely suffices. Like DA, it's not my favorite piece from you but it's a wonderful treat from a highly overlooked source.

I don't think I've ever cried at music, movies, television, or games before, but the closest I've ever come was the staff roll of MGS4. I dunno, going through that whole series in such a short period of time, and then having it all end with such a beautiful song was really powerful for me. In terms of moments that made me sad, but not cry, I think anything to do with Saria in Ocarina of Time really hits home for me. Between Link and Saria's final goodbye as he's leaving the Kokiri Forest, and the dialogue after you receive the Forest Medallion (especially "Saria will always be your friend...") is just painfully tragic.

He's set a bad example for the rest of us by making his projects stall for so long