goat

\m/ Thanks \m/ , and don't worry, you're better off not knowing....I sure don't !

¯\_(ツ)_/¯ I thought the Wickerman remake resolved his financial issues?

I really liked this so-- oh who am I kidding: PIX PLZ

Some of my songs are variable bit rate mp3's. This is the only way they could fit under the 6meg file size limit. I don't know anything about your minidisc, but I'm sure the answer is related to variable bit rate. good luck!!!!! edit: I think the non-variable-bitrate version of this song can be found at www.vgmix.com, if you can't find a quick fix. As for purple heart, I'd try to get the version here to work because I made some production improvements in time for ocremix.

??? can you cite your sources on this one ??? ??? I hope this isn't a jab at my most recent remix on vgmix ??? ??? I *can* say anything marriage-related happened before I started remixing ??? ??? ?? ? ? ? ? ? ? ? *checks house for wandering gogs

Genre preferences can really add spice to reviews!! Reading between the lines, it sounds like you think the song is awesome (professional) but you just don't like the genre it represents. I wouldn't be surprised if starblast takes your review as a compliment.....genre preferences aside, is there anything you notice which isn't up to snuff with "professional" so as to provide some helpful feedback, or do you truly think it's of highest quality pop?

I've heard "singing robot" and this is a step up from that. Whereas singing robot seemed almost too cutesy, this song flows nicely. Speaking of camparisons, I thought the sound of the vocals were much more appropriate here than in the singing robot. I can actually hear some of the emotion come through. I did have problems with 1 section vocal-wise (0:55-0:57 and when it repeats later in the song). When "one more time" is sung there, the lower voice has a "spoken" quality which would be great by itself but the melodic harmony clashes with it...I think the bottom voice needed to be more melodic in that section to go with the harmony or else cut out the harmony there. An example of when the harmony really works is at 3:24 (tones more apparent in each voice and very smooth). All the synth stuff is niiiiiiice. The solo at 2:04 is a synth solo which is a *good* thing (given the notes that are chosen, it works better as a synth than guitar, because it produces a futuristic feel that fits and allows some of the fast notes to have a consistent attack which would be difficult with a picked guitar solo given the note choices). What really saves the song for me is the synthy almost counterpoint stuff that goes on throughout the lyrics.

Something about the interaction between the guitars and the synth makes me like this song: it's very soothing yet powerful. There's a slightly canned feel to the samples and a "Days of Our Lives" vibe going on in the beginning, but this does not detract from the way this sucked me in, and does not change the fact the composition was well thought out. I have no emotional attachment to final fantasy 6 and had been exposed to all sorts of guitar remixes by the time I heard this (those two facts might make my take somewhat unique), and I think his newer stuff outshines this both in composition and production quality. That's no knock against this song at all: it's still really enjoyable. The highlight for me was after the bridge-like section, when the guitar canon returns at 2:12, but this time with the first guitar playing lower notes than before (adds some snarl that the song was just screaming for).

Steve, just to confuse you even more: Unlike Eccles, I happen to like the mechanical-ness of the lead instrument (if it was too expressive or dynamic it would detract from the coolness factor in the context of this composition). Also unlike Eccles, I thought the only weak point was the meandering solo around 2:22 (if this is what he was talking about). Just because something can be distinguished as "real" doesn't mean it should be applauded.... So if you superimpose our opinions, there's either nothing or everything to like about this song. Good Luck!

I haven't heard the original. There are many similarities between this song and "sober" by tool, such as the same-note dual-hit bass guitar across the chord progression at :28 (the progression at that point happens to match "sober" as well): the eventual 16th-note rhythm guitar build up (at 1:54) has accents similar to the tool song. The mood this song conveyed was somehow evil and mellow at the same time, and because it achieves this mood I hereby label the song kick @ss. Great job!

The part between 2:17 and 2:28 made my day, thanks: something about the melodic rapping tone and the over-the-top bending synth-guitarish tones in that section makes me smile every time. I easily imagine Simon's carriage as described by djpretzel, though the version in my head is also doing the shock-hop up and down in time to the beat.

I was initially surprised when I saw this song of mine pop up on the judge's list, because I had asked for one of those heavy guitar ones on here to be judged in place of it (which happened, but then this one came through too). I'm glad though because the constructive criticism here tends to be excellent. I'd appreciate any feedback on how to incorporate samples that are external to one's built in synth samples (I'll go check one of the forums), because I did feel a bit limited when choosing instruments for this. To people expecting crunchy guitar...sorry, this was made before the guitar ones (before I sponged the mold off my axe), and I won't leave real guitar out again (unless I raise my sample/sample-mixing level to kick-@ss).

testing....testing