Palpable

I had no problem with the sidechain usage. The melody changed, the drums changed, at times even the sidechain changed (though rarely). I was in its spell from beginning to end with no thoughts of it being too repetitive. Despite ten quoted sources, I didn't hear an overwhelming amount of source, because a lot of liberties were taken. The primary sources seem to be Kitchen Island and Mt, Teapot (melody), and Syrup Castle (chords). A lot of the arpeggios I wouldn't count because too much was changed but there was enough source usage between the three I listed. I expect Flex to have great productions by this point and he delivered here. Corey's arrangement is a little all-over-the-place, but fun enough. Together it adds up to a pass. YES

I didn't hear the last version, so I'm not sure how different it was, but this was a very cool, smart arrangement. 0:27 was a weak spot - the kick is too bassy and the guitar tone doesn't mesh well with what is happening there. The guitar is fat but hard to hear against everything else - I think a different tone would have cut through. By the time we got the solo section though, this really started to come together. That worked so much better and I was loving it. I can see a NO vote on this based on the production issues, but I think you've got enough good stuff on one end of the seesaw to cover the flaws. YES

The biggest effect OCR has had on me is that I barely make original songs anymore. When I saw the difference between the outreach/love I'd get for my remixes vs. my original music, I opted to put my energy into remixes. Maybe sad, but definitely true. On a related note I kinda hate the trend of everyone and their mother covering the Game of Thrones theme or whatever song is popular and having it get more attention than their original songs, but it seems inevitable given how much music there is out there. Something familiar is going to get more attention. Can't blame anyone for doing it either, since I have basically done the same thing by foregoing original music for remixes, and have likely clicked on a 100 "'Uptown Funk' played on a pinball machine!" Facebook links myself.

Good god, when I listened to the FF14 track linked in the article, I thought they had overlaid the two songs at first. There's no way two people come up with that amount of similarity independently, though it doesn't have to have been an intentional copy. I know there are times that a song comes to me and it takes me a while to realize that it's an existing song, not something I came up with. But I'm surprised this song went through recording, QA, everything, and nobody noticed (or cared). If "Blurred Lines" was infringement, this would certainly be called that.

Ooh, really liked this. This song adapts so well to the genre; not all originally electronic VGM adapts this well. And the little touches you added to it show that even as a beginner you have a great handle on the genre. Especially liked the part where things get out-of-tune right before we get catapulted back into the chorus.

Intro was really promising. The FX immediately took me into the world of the game, and set the stage. I like the entrance of the bass, but when the drums come in, they are a little weak. It gels together at 0:57 and with that bassline, it really reminds me of Devo. I think there could have been some better mixing on the intro, especially by not starting the FX section so loud. The lead at 1:02 was super weak - is it even a lead, or just a pad? The fade-in on the guitar was strange but when it started playing a rhythm, I was digging it. The song is pretty strong for the next few minutes. The square lead at 1:22 was a better choice for lead, and the lead guitar work was even better. The solo was the highlight of the song and really grabbed me. The glassy bell lead at 1:32 was another misstep IMO, but a small one. It doesn't quite fit into the song. The second half had some acoustic guitar that didn't sound like it lined up rhythmically; this was especially noticeable in the outro. And out of the many instruments used in this, the vocals at the end were baffling. The usage as a pad was fine, but the staccato usage really didn't fit what was going on. It's a tough decision. There's a lot I really like in this song and a few things that nag at me. Mixing-wise, it sounds like the revised version fixed a lot, because the majority of the song sounded great to me in that regard. I guess I'm in Kris' camp. There's enough to like here that I can pass it, but I feel like the song could have been a lot more focused and polished. It has a lot of potential that is not being realized. YES (borderline)

This had a stronger source connection than the SD3 decision that Emu linked. The arpeggio was used throughout, sometimes modified but always recognizable. If it was just a chord connection, I don't think this would pass muster though. I'm happy to pass this - like usual for Timaeus, the production is pristine. This track glitters and shines. On top of that, it's creative and an enjoyable sound journey. YES

This is definitely overcompressed as Flex pointed out. The drums are very flat and low-energy despite some good fills and programming. The first half of it was very similar to the original as he pointed out, too. I liked the change in drums and guitar pattern after that, though the section went on long with the same patterns and maybe could've used another change-up. The mixing also sounds a bit off, in that the orchestra is taking up a lot of room that I would expect the rock elements to use. As a result, the song sounds somewhat unbalanced. I think it would work better to get all the rock elements sounding great first, and then carve out the orchestra so that you can just hear certain elements of it. While this is a cool piece of music, it doesn't seem right for OCR yet. As an arrangement, I think we would need something slightly more personalized; production-wise, this is unbalanced and overcompressed. I think a resub that addressed those issues could be a pass, but it depends on whether you are willing to make the changes. NO (resubmit)

This seemed like an easy YES to me. Here's my source breakdown: Opus chorus chords or melody used (1:31-1:45, 2:38-2:52, 4:44-4:56, 5:01-5:15) Opus bridge chords, or melody used (2:55-3:19) Opus intro synth used (3:55-4:10) Opposing Bloodlines chords or melody used (0:50-1:31, 1:49-2:36, 4:26-4:42) There was some changing of the Opposing Bloodlines melody so that it didn't fit exactly, but almost all of it was drawn from somewhere in the melody, enough that I felt the whole section was clearly arranging the song. There's also a background synth that doubles the original melody even when the vocals deviate. Damn, what a jam. I toyed around with some New Jack Swing Sonic remixes several years ago, but this completely nails the style. The vocals had the perfect delivery for this, and the bridge literally made me laugh out loud, though I would have been disappointed if it didn't. The early 90's were the epitome of corny raps. YES

Really cool arrangement! It's a great balance between keeping the original and giving us something new, and has a very classic OCR feel to it. I agree with pretty much everything that's been said by the other judges. Glitching towards the end was too heavy-handed (sounded like random dblue settings rather than something purposeful) and the leads were a bit basic. The drums get a little tiresome but there's a lot of other stuff going to draw your attention elsewhere. I also agree that in spite of issues, this is definitely a pass. I especially loved the chord changes and middle section, where I really started to feel your interpretation of the source. YES

Bass is really heavy here - the rhodes and piano notes are fighting each other and the song sounds pretty unbalanced. I also thought the drums in the first section were pretty flimsy. When it got to the transition section, the drums sounded better and I was anticipated a really cool second half. The energy increased, but it went back to those same flimsy drums. I think having drum machine sounds is fine actually, but what you have here is too low in the mix and missing body (bass is fine though). It's the right drums for an ambient, quiet piece, not something jazzy and bright. The song sounds a little adrift as a result. The strings also sounded pretty low-quality but the concept is good. I think the arrangement is pretty cool, if strange, and passable. Just tighten up the production a bit more and I can see a pass. NO (resubmit)

I have to give Lucas credit for trying something different. As fun as Ep 7 was, the prequels take more risks and are more innovative. Unfortunately, they also show you that that doesn't equate to good movies. The problems go well beyond acting (which, btw, I blame completely on Lucas, since Portman and McGregor have been excellent in other movies). The prequels have been analyzed to death, so I'll keep my opinion short. Even though I can see glimpses of a great story in Ep 1-3, it's told so ineptly as to render it worthless. I often give the same criticism to subs on OCR: the execution does not sell the ideas. I'd even say the more different and out-there the movie, the stronger the execution has to be in order to sell it.

I read this in Obi-Wan's voice

Really enjoyed the movie and I will probably see it again when it's available to see at home. Several others have shared my opinion on the movie, which is that it tries too hard to be an episode 4 reboot for it to be truly great. But this is the Star Wars movie we need right now though, something to set the tone for the new trilogy, to wash out the bad taste of the prequels. They can save greatness for ep 8. The acting was better than it needed to be, which was nice (Ridley in particular was excellent), and the special effects were great. My complaints are pretty few and minor - some of the jokes didn't land, and the movie was slightly too overstuffed for me. I think it could have done with one or two fewer characters, and a couple scenes went too quickly for me to really appreciate what was happening. It's not like A New Hope didn't have problems with its script and story either. Ep 7 would easily be a direct post if I were a movie judge. I'm super excited about Rian Johnson writing and directing the next one. Looper was a dark, innovative take on a well-worn sci-fi concept, and I'd love to see what he can do with this well-worn universe. If they are following the spirit of the original trilogy (if not the actual plot), he seems like the right director to do the Empire Strikes Back reboot.

Chimpa and Redg collab? I'm already intrigued... Liked the intro, but was underwhelmed when the main motif entered. The mid-high ranges feel a bit empty, like the melody instruments could've been much louder. OA might be saying the same thing as me if he was listening to this at a higher volume. It's very bass-dominated and groovy, but it doesn't sound like just a stylistic choice because the intro has a better balance. You add a new bass instrument starting at 1:28 which fills things in much better too. Overall, I think this was still a pass though. The arrangement was really cool, and I think highlights the elements that I like most about your individual music. There's a lot of creativity and interesting touches in this mix, and even the one problem I mentioned can kind of be seen as a stylistic choice. Nice work. YES

I wasn't totally feeling this one. Panning aside, the strings and drums really didn't have a great sound. The strings were pretty weak and synthy and I didn't think they were strong enough to take lead. The drums OTOH were overly crunchy, almost sounding lossy. Live guitar playing was great and almost sounded out-of-place because everything else had a synthetic quality to it. Arrangement was cool for sure, and I'd love to see another version of this that addresses the problems I heard. NO (resubmit)

Wow, this song was a journey. It started off pretty innocuously, but ended like Mannheim Steamroller or something. I think the second half was better than the first, but this was just solid enough for me to call it a pass, mostly thanks to a great arrangement. Some things to improve on the production side: late string articulations at 0:53, changes were too abrupt in the 1:11-1:59 sections, late low strings at 2:02, snare sample too weak. I can see other judges calling this a NO based on the several production flaws, but the overall package was barely enough for a YES for me. YES (borderline)

Can't say I like the source song much, especially compared to most Sonic songs. In fact, I think you improved on the song in almost every regard. The harder approach definitely suits it more, and you used the voice clips more tastefully. The sparser guitar/chip section was very cool and a great contrast from the heavier groove. The filter-heavy breakdown was also interesting, though my favorite was the crazy dubstep section that followed afterward. Lots to love about this mix. YES

Interesting mix of sounds: guitar chugs and a rock kit, chip lead, and orchestra strings and horns. The chip lead doesn't quite work for me, and when the horns are out front and center, their fakeness is a bit exposed, but those aren't the biggest problems with the mix. The mix is actually pretty conservative, with most of the melodies adapted to your instrument set, and little in the way of interpretation. There's also a big degree of repetition - whole sections being used multiple times. I wouldn't call this a cover, but it's also not as interpretative as what we are looking for. I thought this was executed fairly well, but just not what we're looking for as an arrangement. NO

Despite not being overly familiar with the themes, I could tell when a new one was starting. Still, this had the cohesiveness needed to stand alone as a single piece and not a medley. The transitions are well done, and to echo everyone else, the dynamics of the piece are excellent. It's not live-orchestra level quality, but extremely listenable, and the execution is absolutely selling your great ideas. I think this is great and easily deserves to be on OCR. YES

Repetition is one of my blind spots for sure, but when it's pointed out to me, it really does hurt my enjoyment of the song. Here was no exception. From the beginning till 3:11, this was an excellent remix. Tons of great stuff going on melodically, arrangementally, production...ally. Honestly, I wouldn't have minded the song ending there because of how much great work you packed into those three minutes. But when you've got almost all the instruments, particularly the lead, playing the same way as a previous section, it's a dealbreaker. Something a little different in the lead would be all it would take to get my YES. Doing another take might be enough honestly, just so that it isn't played exactly the same way. This has to be on OCR. Please give us a revision. NO (resubmit)

Good points made here by the other judges, but I think (as usual?) I agree with Larry's opinion the most. Lots of small stuff that could be improved here including the piano, the genericness and blockiness of some synths, but this is getting so much right that I didn't find it hard to overlook the problems. I also didn't feel the need for a breakdown, though I can see why others might. From 2:56-3:23, the instrumentation was basic enough that it gave me the reprieve I was looking for, even if the volume was at the same level. YMMV. I'm happy with this as is. YES

I love you, Brent - no one sends us stuff like this. The downside of going this far off the deep end on OCR is clashing with the standards, and I can definitely see Larry's point. I was even tempted to side with him, but there was almost no melodic focus in this track at all, so the very little you had was enough for me. I feel like the unorthodox approach you take for remixing also suits the Metroid OST very well, so it's possible on some level that is making me feel more of a connection (maybe tackle Earthbound sometime too!). Pretty much it sounds like if you cut the silence down a bit, you'll have a bunch of YESes and you can count me in that camp too. YES (conditional on cutting silence)

I liked the arrangement more than the other judges I think. It could have used a stronger ending I think, but I liked the build and didn't mind that the first half was so low-energy. This piece goes through a lot of variations and almost everything is executed well and flows naturally. A couple points that I think could have been stronger: at 0:31, piano could be louder; transition at 1:41 is slightly abrupt and the solo string that follows is not sequenced that well; at 2:29, add some instruments playing at a higher octave to really sell the ending of the song and get the full orchestra. These are things to be improved, but I thought this was solid enough to be a pass. YES

Brandon as in Brandon Strader? Honestly I'm pretty surprised, because this is not nearly as polished as a lot of his recent work. The snare seemed really exposed and flimsy (oh I see Larry hit that already), and the guitar was also mixed strangely. Almost like they were mixed for a punk song while the orchestra is playing... like an orchestra. I also have to agree a bit with Joel about the arrangement. At times, the rock and orchestra parts are fighting against each other, like playing different styles almost. I admire the ambition here, and I certainly couldn't pull off a song like this, but the cohesiveness needed just isn't there. NO (resubmit)