Chimpazilla

ReMixer Names: Brandon Strader, Chickenwarlord, Hylian Lemon, Tuberz McGee Userids: [Chickenwarlord: 16195] [Tuberz McGee: 44165] Game: The Legend of Zelda: Oracle of Seasons Arrangement title: No Rain in the Desert Song arranged: Dancing Dragon Dungeon Comments: Hylian Lemon: This is part of the summer section of our Oracle of Seasons project, Lime of the Season. Chickenwarlord and I did Ages' level 4 theme for Essence of Lime, so of course we would work together for Seasons' equivalent. We wrote the first half of the arrangement together in MIDI form, and then I finished it myself in FL Studio due to technical difficulties on Chicken's end. Brandon strummed everything and played the first minute or so of guitar leads, and Tuberz finished off the rest of the leads. Then I fiddled with some knobs and messed everything up. Big thanks to the guitarists for breathing life into the worst guitar writing they've ever seen in their lives, and to Chickenwarlord for adding creativity fuel to the arrangement. <3 you all Brandon Strader: I'm sorry for holding things up as long as I did. I hope people enjoy the song. Huge thanks and congrats to Ben Hoffman. Tuberz McGee: Man this mix is solid. I love the chippity choppity goodness going on here. I love the harmony and how it shifts about into sometimes completely unfathomed territory. I love it. I was glad to join Brandon in the addition of Guitars to this mix. Really glad. Chickenwarlord: I'm responsible for a lot of the twiddly bits and flourishes in the arrangement prior to 2 minutes. Really happy to work with Ben on a Level 4 theme for the second time in my arranging career. The work as a whole is really Ben's brainchild and I was fortunate enough to get a small glimpse into some of his arrangement style. It ended up a little bit more chippy than I had originally envisioned (Lemon's comment: everything I touch turns to chips), but the final piece is something that is the product of more than one fantastic imagination. I hope you enjoy listening!

ReMixers: Ivan Hakštok, jnWake, Wild_Cat, XPRTNovice Name of game(s) arranged: Super Final Match Tennis, Sonic The Hedgehog 2006 Name of arrangement: 5 Minutes of Glory Composers: Takamitsu Kajikawa (Super Final Match Tennis), Tomoya Ohtani, Mariko Nanba, Hideaki Kobayashi, Taihei Sato, Takahito Eguchi, Seirou Okamoto, Jun Senoue (Sonic 2006) Link to the original soundtracks: Super Final Match Tennis - Ending: Sonic the Hedgehog 2006 - Wave Ocean Inlet: I made this song for the MAGFest XII edition of Dwelling of Duels, and it ended up placing 14th out of 35 entries. I found the source theme by going through random youtube vgm playlists and I knew that I had to cover it because it's the most "Hakstok" song ever! After I started working on the arrangement, I added a part from a Sonic 2006 song because it had similar chords and fit nicely in the mix. Since this was a MAGFest DoD, I decided to go all out so I recruited several people to perform live instruments. The initial arrangement was done in less than 3 days, so that gave me lots of time to find people, and three brave ones answered the call! Here's the lineup: Ivan Hakštok - mixing, guitars, drum sequencing, piano sequencing, backing synths Wake: lead synths, organ, piano editing Wild_Cat: bass XPRTNovice: saxophone I consider this song my best work so far, but you know, I can't be very objective so I'll let Mr. Andreas sum it up for you with excerpts from the DoD listening party log: [01:10] <snappleman> I like that snare [01:13] <snappleman> clapping [01:14] <snappleman> sounds so fucking awesome in mono [01:14] <snappleman> that's the test for all the mixes [01:14] <snappleman> 3/6, good mix, high energy I hope he won't be mad because I used his quotes without permission. Now, here's the source breakdown: 0:00 - 0:43 = original intro 0:43 - 0:54 = chords based on A section (0:07 - 0:20) of the SFMT source 0:54 - 1:41 = pretty much a cover of the SFMT source 1:41 - 2:08 = guitar solo, chords based on the A section of the SFMT source 2:08 - 2:30 = section C (1:10 - 1:30) of the Sonic 2006 source 2:30 - 2:54 = organ solo with the same chords as the previous part 2:54 - 3:06 = B section (0:20 - 0:32) of the SFMT source with some additional synth wankery 3:06 - 3:29 = the "chorus" section of the SFMT source (0:32 - 0:56) 3:29 - 4:15 = another guitar solo over the chords from the SFMT source 4:15 - 5:02 = chorus section of the SFMT source 5:12 - 5:33 = some outro wankery over the chords from the chorus section of the SFMT source Thanks again to Wake, Wild_Cat and XPRTNovice for contributing to my track and making it 10x more awesome!

ReMixer Name: DusK Real Name: Dustin Branscum Website: http://www.itstartsatdusk.com User ID: 24328 Game: Star Ocean: The Second Story Arrangement Name: "This Love, Our Love" Song Arranged: "The venerable forest" Platform: Playstation Composer: Motoi Sakuraba Release Year: 1998 (JP), 1999 (NA), 2000 (EU) Source: Lyrics: You take me away from loss You give, and you give freely We'll walk through this world unharmed As long as you walk with me Through smoke and ash, we're hand in hand You bring me far above And though we're two against the land We wield this love, our love You robes flowing in the wind My armor scratched and torn You make me whole again An embrace soft as it is warm Though darkness looms, we're back to back You bring me far above And though we're two, and worlds fade black We wield this love, our love We'll take on this world With our fates entwined Never lose your wand I need you at my side Through paths and trees, with sword and staff We'll fight, endure, it all Though outnumbered, not outmatched, we'll always have This love, our love We'll take on this world With our fates entwined Never lose your wand I need you at my side Though outnumbered, not outmatched, we'll always have This love, our love Comments: I did this remix to perform it live at my wedding reception. My wife walked down the aisle to "The venerable forest", so it seemed fitting that I create a vocal remix of the track. I spent a great deal of time on the instrumentation, particularly the string sections, and I feel it's by far my best attempt at creating a convincing orchestral piece using samples, something I'd love to do more often. The vocals were revised quite a bit after I got some feedback from Flexstyle, who noted that the original recording was fairly pitchy. The lyrics create a comparison to marriage through references to the roles we both commonly play in MMORPGs. Enjoy.

I'd really love to put this track on Youtube... especially since I can't submit it to OCR... but I need someone to help me put together a fitting video. I'm thinking a combination of still images and bits of gameplay. I am not good at making videos. Anyone wanna help me with that?

"Hello Hello" Hey guys! My son and I are obsessed with the Five Nights at Freddy's games (FNAF1 & FNAF2). When I discovered that all the sfx were available on the FNAF wiki page, I just had to do a remix. This track is based on the Puppet's music box theme that appears in FNAF2, which is "My Grandfather's Clock." Since this tune wasn't written for the game, my mix is ineligible for submission to OCR, but I had to do it anyway. I'm hoping my fellow FNAF fans will enjoy it anyway. It was a lot of fun to make! From FNAF2: "My Grandfather's Clock" - the Puppet's music box theme Balloon Boy vocals heavy breathing sfx from the Freddy mask From FNAF1: all other sfx!

Remixer name - Ethan Rex Real name - Ethan Rex Email - Website - www.facebook.com/ethanrexmusic User ID - 45328 Games arranged - Mega Man & Bass and Darkwing Duck Name of arrangement - Groundpowuh Songs arranged - Ground Man and Moliarty's Tower Hey team, Ethan here. This mix is from Darkesword's Wily Castle Remix Gauntlet. In this round, the Robot Masters were climbing up Moliarty's Tower in an attempt to stop the evil Dr. Wily, or something like that. I was representing The Robutt Masters (consisting of Tuberz McGee, Kuolema, and myself) as Ground Man. Since this was my first mix for the compo, I really wanted to really knock it out of the park arrangement wise. I tried to tap into the funk that pervades both the Ground man and the Moliarty source, while adding some chippy elements that I love so much. While the production on this track for the compo was pretty lackluster, I threw it in the Workshop forum for some feedback and got some stellar advice. I also want to give a shoutout to ectogemia for showing me a lot of mastering techniques that I used on this track. Hope you enjoy! MM&B - http://www.youtube.com/watch?v=im0JATAC5zc DwD -

Yes Nathan, it's chaotic. *takes two Motrin* I decided to take a stab at the source use. I'd appreciate if someone else could help me verify this: remix 0:00-0:22 is source 0:00-0:14 (22 seconds) remix 0:22-0:44 is source 0:14-0:26 (22 seconds) remix 0:44-0:53 is original remix 0:53-1:26 is source 0:28-0:55 but I only hear the backing arp and the lead writing seems to be original (33 seconds if arp is enough source) remix 1:26-1:32 is original remix 1:32-1:48 is source 0:55-1:09 (16 seconds) remix 1:48-2:11 is source 0:55-1:09 but very interpreted (23 seconds if this counts) remix 2:11-2:22 is original remix 2:22-2:44 seems to be based on the source bassline from 1:09-1:17, heavily interpreted, wow that's tenuous (22 seconds) remix 2:44-3:06 same as above but with a lead melody I can't recognize (22 seconds) remix 3:06-3:19 is source 1:17-1:20 (13 seconds) 173/199 or 87% source if all the above counts, someone help me determine if it all counts ok? The track is very VERY hectic. There's a lot of stuff going all at once, it's probably mixed about as well as I'd expect while being this busy. I don't have any real criticisms other than it just feels too busy. I like the transitions but I wish there was an actual soft breakdown somewhere, emphasis on "break." *whew* YES

This is a good sounding mix and I like the approach, the guitar work sounds very good, the drums sound good as well. Larry has done an amazingly detailed job here, I'm pretty much just verifying his research. He's spot on in every aspect so I'm going to mainly co-sign with him. Those cut and paste sections he mentioned are exact duplicates, I layered them to be sure: 0:51-1:15 is identical to 3:23-3:40 1:36-1:55 is identical to 2:28-2:47 This is really a no-go for OCR, gotta vary it at least a little bit. It does seem that you've lowpassed the track pretty steeply at around 17KHz so you've lost some "air." You could still control the highs using a high shelf instead, and keep some of that air there. This isn't a dealbreaker but a little more highs would round out the soundscape a little better. And yeah, the sources are pretty obscured apart from the direct sampling. That's a big bummer. So these issues add up to a NO in my mind as well. NO (resubmit)

TWO postings of that tewtoriel is TWICE as lowd! SOMETIMEZ YOU CAN EVEN PUSH UP THE MASTER PHAYDER... I LIEK TO GO ALL THE WEEEYYYYYYY.....

That's a thick beat. I remember this track from FFCC, I still like it, dat beat! There are some areas of the arrangement where the Cry in Sorrow source is pretty ambient, where I feel like the harmonies don't quite work, such as 0:33-0:48. The theme seems to get smeared at this point since not every note is played (as it is being played by a slow-attack pad) and the pad notes conflict with the bass notes occasionally in this section too. Pretty slick integration of the Sazh bassline starting from 0:48 though, nice. You've added in that bassline in a really nice and subtle way in this track. From 1:03-2:02 the Cry in Sorrow theme is really liberal and only represented by it's arp pattern, I wish the melody were represented here at least once, that's a long stretch. The Sazh bassline is there, though, well done. At 2:02 when the melody does come back, the harmonies again don't quite work. It's the pad that's the problem I think. From 2:31-4:00 , again the Cry in Sorrow source is minimized just to the backing source arp. Lots of cool original soloing here along with the arp, and the bassline is harder to follow here... until 2:47, I love how you integrated and interpreted the Sazh bassline here. At 4:00 the harmonies are wonky yet again. The mixing feels midrange crowded with the pad competing in the range for the leads and the upper end of the bass. The pad is the biggest problem, I recommend notching some frequencies out of the pad to let the lead timbres and bass buzz come through. The drums are really nice (and dat beat!) but that same transition drum pattern appears quite a few times, and that final repetition of this pattern at 4:27 isn't needed at all imo. Wide panned hats could use a touch of reverb. Source use is plenty, it is surprisingly subtle yet works very well. If the mixing were cleaned up somewhat, making room in the middle for leads/bass crunch, the production would be there for me. This is smartly written and I really like the arrangement and the blending of themes. I hate to do this but I really think one more mixing cleanup would make this so much better. Notch that pad at 2-4KHz (and possibly reduce some higher frequencies too), take a look at some of the bass notes at 0:33-0:48 to make sure they compliment the pad writing, ok? NO (extremely borderline) (resub quickly please)

Plenty of source, and some really great ideas in this track. I have to agree the low end seems really quiet, what a shame because there is some strong bass writing and epic wubbery. Both OA and Jivey nailed it about the drums, they cut through well enough, but the writing sounds somewhat samey after awhile, it would be amazing if you used a softer kit and slightly different writing say at 0:58 when that flute starts. The flute lead feels just a bit loud when it plays. I also feel like the string section is weak, that string sample doesn't make a strong lead, the section starting at 1:09 could be really great with a stronger lead layered together with the strings. The dubstep sections are really great and the drums you have currently work very well in those two parts. The breakdown is a nice respite from the energy of the track, nice buildup back to 3:00 (and I love the vocal sfx)... then whammo WOW more great dubstep. At 3:22 there is 3 seconds of a really great sounding square lead... 3 seconds... I would love an entire section of this lead!!! The piano in the outro sounds nice, I think this outro works but that teaser 3 second square lead just leaves me grumpy. Do more! This is close. Bring out the bass a bit, see if you can vary the drums somewhat more, expand that square lead section, and you've got my yes. NO (please resub)

My revote: As for the source, Larry has clocked 111 seconds out of 303 seconds, which is 36%... if the newly uncovered source use is accurate, it adds 63 seconds to the count, giving the remix a total of 57%. 3:52-4:23: this is still REALLY liberal. I really like the soloing here, but the soloing takes the melody quite a ways from what I hear in the source... but the backing chord structure is there, and I believe the bassline follows the source bassline. I'm gonna give the benefit of the doubt, this is pretty darned borderline though. 4:22-4:54: yep, I hear that other source here very clearly, thanks for giving us the link. No way would we have figured out this source use on our own (at least I speak for myself, not having played this game). I'm gonna go ahead and give the full 63 seconds of credit on the clock, bringing the total to 57% source use. As this vote has gone on, there have been some great crits given that are valid. I still think the right-panned e-piano is too loud and it is stiff too. I think there are things that could be better balanced and mixed, but overall I think the production clears the bar. My vote is YES, but if this still doesn't pass, please consider the production crits from the other judges. (amending my original post) I just wanna step on my soapbox for one second here and say: PEOPLE, PLEASE PROVIDE A SOURCE BREAKDOWN WITH YOUR SUBMISSION, it's really helpful to us judges in cases such as this one, and could mean the difference between a pass and a resub. *steps down from soapbox*

First off, I recommend reaching out to our wip forum and/or finding a buddy who is more experienced than you to help you learn mixing/mastering. What is here is not too bad at all, it can definitely use some polish but it's coming along. This is a pretty interesting take on this source. The drum loops do sound loopy but you have thrown in some fills so that's good. I'd remove some of the reverse samples, those should be used sparingly. The lead at 1:00 is quite generic and doesn't hold my interest, but I like when you add the countermelody and harmony at 1:12. Be careful so sounds don't overlap too much in the same frequency range, you can use eq to make room for each one. Glitching at 1:23 is super cool. Soloing at 1:29 is cool, all the way to 1:47, that part writing is great. The lead at 1:47 is much too loud and piercing, gotta blend that better, you could use a more interesting sound too. The piano at 2:04 is extremely mechanical in terms of sequencing (notes played perfectly all at the same volume), and the timbre is a bit muddy, also the extreme panning is odd and distracting. Also, the piano is playing the same source tune motif pattern from before, verbatim. This would be a good point to change the writing up. More work to do, but don't be discouraged. NO (resubmit)

There are some really great ideas here, the sfx and ambiance leading up to the drop are really done well. That sequenced synth that starts at 0:48, then the second one at 0:52, that part is great. But when that first lead comes in at 1:03, the crisp soundscape is completely smothered by a very generic-sounding and reverb-drenched square lead. It feels placed in the background instead of up front where a lead should be, giving a washed-out effect. The next lead that comes in at 1:33 is also a fairly generic saw, and it competes with the upper end of the buzzy bass and you also have several other timbres going at the same time, all competing with each other until 1:59, it is just too busy from 1:33 to 1:59, frequency-wise. That gated scream is awesome. The "joker" vocal, gunshot, etc. are likewise awesome. (you could have some fun with stereo-widening those sfx or auto-panning them or filtering/phasering them! no need for all that awesomeness to only occur in the middle of the soundscape) But then at 2:14, another verbatim playthrough of the source... I agree with Larry, this would have been an opportunity to introduce some new melodic ideas or new timbres, or both. I think this is a REALLY solid start here, and has potential to be excellent. I think the leads are your biggest problem, they are taking up too much space sonically, have too much reverb, and compete against backing elements. I think you can find more interesting leads, I often like to layer sounds together to get really cool evolving/sparkly/interesting timbres. For the kind of writing you are doing (especially the faster-paced soloing), I'd recommend something thinner than you're using. Also, gotta do some eq surgery, or replace some of the timbres that are all playing in the same frequency range during the busiest parts. I think you'd do well to introduce new leads in the second half, or alter the writing just a little bit or do a unique solo, or BOTH... just so the first and second halves of the track are more distinct, sonically and writing-wise. Blow us away with something really wicked cool in the second half. Looking forward to hearing this again. NO (resubmit)

I really don't hear anything lossy, Larry. It is a bit sizzly, mix could use a rolloff above 15-16KHz, it's bright but not painful. Mixing is lively and well separated, but it begs the question: WHERE'S THE BASS??? There is nothing happening below 90Hz in this track and the kick is the lowest sound, hitting right at 90. There is a huge missed opportunity from 30-90Hz where some enormous bass could reside. There are wubs here that I only hear the tops of. There's some good bass writing and nice sidechaining that I'm straining to hear. This makes me sadface. I would request a resub mainly for that reason if nothing else bothered me in this song. The addition of the 30-90Hz range will most likely tame the perception of brightness of the whole track (but you still might want to do a high end rolloff anyway). The wide-panned phasey percussion at 1:25 is awesome. The dubby section that follows is dynamite (but where's the bass). Synth work beginning at 2:19 rocks the house. The bridge at 2:46 is a nice change that provides some much needed relief from the relentless source buildups and motifs. Larry is right, this track is really solid. But wow, by the time I get to the end, I've heard that source buildup and motif soooo many times. I feel like each of the sections that contains four identical bars could be cut in half, or better, some bit of variation could be written in. A bigger issue is the duplication of the two biggest sections: 3:14-4:22 is nearly a verbatim repeat of 0:15-1:24, and the outro of 4:22-4:50 continues the same exact patterns with the only difference being that the drums are dropping out. *sigh* I hate to do this, because there is so much good going on in this track, but the lack of low end and the extreme repetition are pushing me towards NO (resubmit please)

I happen to like the vocals, even the robo-voice which transitions into the first drop, I think that works well although I can imagine some cool phaser effect (or something) on it, that would be fun. I hear a few clashing notes from 0:53-0:58, not enough to be a problem but noticeable. I like the staccato strings quite a bit. I like the wub bass, I wish there was more of it, it's really subtle. There is some great synth work in the second half, nicely stereo-separated and well sequenced. The overall mixing is working well. The piano sounds a bit mechanical but I really like the timbre. This is a very conservative take on the original tune. The writing does sound quite repeaty... but the instrumentation changes and synth work make up for it. I still wish there had been a little more variation on that source motif, some rhythmic variation on that motif would have worked to break up the melodic monotony. Overall though, I like what is here and it is working for me. YES

I agree with Larry, I love the idea, but the piano sounds muddy and also very mechanical. When the beat drops, the bass you are using has a ton of upper end buzz which is great, but you're also using a saw lead and the piano at the same time... all three of these timbres just blur together. You'll need to put in some work to decide which timbres you want to play in which frequency range, and carefully eq them. If you can't make the timbres play nicely together without them masking this much, you might want to consider replacing some of the timbres if not totally, then at least during the parts where everything plays (for example, use a non-buzzy bass during that part). Also you seem to have just written one piano pattern and one lead pattern and one drum pattern. Some variation somewhere would be really helpful and fun. I like the part that starts at 1:38, lots of fun unique ideas here, you could even add more sounds and I'd be ok with that (again being careful about masking). Agreed also with Larry that the claps really stick out. The clap is the one sound that manages to pierce this fuzzy soundscape which is actually a good thing... except that the clap is the ONLY thing that pierces the fuzzy soundscape. The claps come off sounding very dry. They will need some reverb and I recommend stereo-widening them too. You could have some fun with effects on the clap at some point also. Great start, groovy ideas, needs a bit more writing development and a mixing overhaul. NO (resubmit)

Oh. My. God. My kiddo and I got started on this game this afternoon. It's unbelievably creepy and can give you a heart attack! Makes my palms sweat! Fun stuff! I already made it to night 5 but can't seem to evade Freddy.

I'm not going to examine the source usage, if it's cool with Larry I'm going with that for now. I want to get right into the production. I can hear that you wanted to go bold with your production choices. I think you went a bit overboard in your production. The track does have dynamics (meaning there are sections that are softer), but the really loud sections are squashed to smithereens and that section at 0:49-0:52 distorts quite heavily. Gotta dial back the master compression/limiting. I don't hear muddy mixing per se, but you've used quite a few bell-like timbres and they all have resonances as bell timbres often do, and with multiple bells together, resonances overlap and sound messy and sometimes painful to the ear. Everything here seems to be playing at the same volume much of the time, as if you've barely used your mixer at all. All the parts are sequenced extremely rigidly, mostly quarter or eighth notes all hitting right on grid at the same volume. The track is repetitive and comes off as very long for what if offers, many of the sections of this song could easily be cut in half as they seem to play through exactly twice. This is not a great way to get length out of your track. You seem to be using dubstep-type basses in a way that doesn't work. For example, at 2:12, there is a prominent bass that I'd expect to hear in a dubstep production but it is playing straight eighth notes for quite a long time, and you've teamed it with a drum kit that really doesn't match the timbre, with the kick sounding quite "poppy." Together with the lead synth playing straight quarter notes, the whole effect is just uncomfortable. Similar situation at 3:51, dubstep bass not used very well or effectively, teamed with odd drum kit. You have some pretty harsh sounding transitions from soft to hardcore sections in this track with no warning, this makes the arrangement feel quite choppy. Need to find ways to introduce the listener somewhat to new textures... even a simple white noise sweep will do the job sometimes. You have some unique ideas here but the execution needs a lot of work. I'd recommend popping this track into our wip forum for some additional feedback, but I'd suggest the following as a starting point: 1. dial WAAAAY back on the master compression/limiting 2. get a grip on the bell resonances, or replace timbres with less bell-like samples 3. learn how to write more interesting patterns than just quarter or eighth notes 4. spend time learning to balance and mix 5. find a way to cut out half of this song (my suggestion based on what I hear is that you can cut many of the sections in half), or make the extended sections more interesting 6. make a proper ending with no abrupt cutoff Lots to work on here. NO (resubmit)

This is a nice start, but gosh it is short. Two minutes is barely enough time to develop your ideas, and the ending is abrupt. Source is readily apparent, no problem there. The track is drowning in reverb, and there is a resonance that appears several times throughout the track: 0:12, 0:36, 0:50, 1:40, 1:48. If that sound is intentional, I think it doesn't sound very good. I like the piano playing and the ideas generally. I'm not sure the drums are fitting in style-wise as well as they should, giving them a "pasted on top" feel against the emotive piano. Piano sounds a bit mechanical (could use more humanization) but still nice, string backing sounds good. So I recommend you address these areas: lower the reverb on pretty much everything, check into those resonances and remove them, expand the arrangement somewhat, and find a way to make your drum writing fit in better with the mood of the piece. NO (resubmit)

Plenty of source here, very groovy take on these two source tunes. There are tons of fun little details in this track, cool sounds, glitching and effects. I'm loving the little wublets and triplets thrown in, lots of cool stuff. Drums sound great, kick is satisfying, hats are nice and wide, snare work is good although the snare timbre gets a little lost against the saws. Hard production, check. Some of the sounds are very mid-high heavy. It is consistent though, a stylistic choice to be sure. The track is mastered rather loudly, not a lot of dynamics except in the intro and outro. The energy and instrumentation stays similar all the way through, and it's a long track, so it ends up sounding a bit samey. Track feels long for what it offers, and near the end I'm really sort of tired of that main motif. The "yah-yai-yoi" bits definitely get old after awhile. So yeah, a little long, a little repeaty, but tons of detail, cool stuff. YES

I hear plenty of source too, and this is lovely, really very nice arrangement. You did a really nice job "remixing the silence." I have no problem with the samples other than the solo samples, the lead violin has some off-key moments with the bendy articulations and the attacks give it away. Also the solo cello that is panned right playing arps is particularly not-real sounding (and I wish it weren't quite so hard-panned). Those arps do sound a bit blocky as Clem mentioned, but it can't be helped when working with solo samples like this... solo samples are so hard to work with so I'm forgiving this fully. The rest of the samples are used as well as possible and they sound quite nice. Other than the solo samples, I got nothin' to complain about, I love it. YES

I'm with you. Ribs *are* good, aren't they! But the McRib looks so very disgusting. Being one who was nearly poisoned to death by McDonald's a few years back (let's see, 25 years ago now? who can remember?... but I've NEVER forgiven them for causing me to spend the night in the hospital barfing every 60 seconds for 8 hours until I prayed for death... that was a Big Mac, but what I ended up with was a Big McHospitalBill), I certainly would never set foot in a McDonald's again during this lifetime. And the McRib in particular is the most frankensteinian "food" item I've ever seen, just viewing that article causes my stomach to lurch a little bit and gives me nightmares. No offense Larry. Love you!

Happy birthday my friend!