Souperion

When Resonance of the Pure Land came out, the track I was most hopeful for was Flight Into the Unknown. And I, and likely everyone else, was not disappointed. It's peppy, it's beautiful, it's faithful, it's innovative... more than I could have expected in a single track. Thank you for bringing back to life the exhilaration of soaring on white dragon's(?) wings.

Thanks! I have a one hour long tutorial on this cover on my YouTube channel, along with about a hundred of hours of tutorials about orchestral music in general that I made. You might want to check them out to see what I use and how!
(My DAW is FL Studio, the software are various Kontakt Libraries)

 
 
Thanks! It is on Spotify now, uploaded all my tracks there a few months ago.

Been looking forward to this post since I heard it in the workshop. Two great sources woven into an exquisite piece brimming with life. Most excellent work.

@GuJiaXian In case you were curious, it just got approved this morning for a direct-post. Those are by email, so this would not show up in the Judges Decisions page.

My remix and remake of of Lake Floria, from The Legend of Zelda: Skyward Sword. Based on Dr. Pez's guitar cover. This piece never actually really stood out to me in the game, however, I heard Dr. Pez's cover of it a few years ago and it's stuck with me ever since. Hope you can enjoy my take on it and find it relaxing!
-Juke

Hey man, sorry for the wait!
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MOD REVIEW
Phew, this sounds like a rather ambitious piece. Also, a mod review is generally for when you want to submit to OCR, just fyi.
Summary
The main things that I would keep in mind are:
Each note in each instrument feels like a similar intensity, so the instruments feel robotic. Try to keep instruments playing their usual role, at least in this context. In this context, my suggestion is that, e.g. a bass should play bass, not "baritone", orchestral drums should play as orchestral drums, not rock drums, etc. Perhaps consider cutting out some parts of the arrangement, so that it flows better. I know you may be attached to some of it, but sometimes you gotta be more objective about it. There are some good things in this though:
Props for writing something this long. It's hard to even think up something of this length. You have a pretty good structure, and nothing too much feels that out of place, besides the parts I mentioned. You do have drum variation, which distinguishes sections from each other. Arrangement
Whenever I see a long piece like this, I consider whether the ideas still flow into each other, whether there are sufficient transitions, whether there is a dynamic progression, etc. Because I like to be able to figure out how a piece progresses, here's how my mind is trying to structure this based on what I hear. Maybe it'll help you decide what you may want to cut out, because this is quite long, with many ideas packed in, and can be condensed down.
0:00 - 0:35 = Intro 0:35 - 1:00 = Buildup/Verse (maybe?) 1:00 - 1:26 = Chorus? 1:26 - 1:46 = Slow Bridge 1:46 - 2:14 = Chorus 2 + Solo? Leads into breakdown 2:14 - 2:27 = Breakdown 2:27 - 2:41 = Big verse? 2:41 - 2:49 = ??? This doesn't feel like it fits here, because it's out of the key and sudden. 2:49 - 3:15 = Chorus 2 3:15 - 3:41 = Continuation, suggests winding down again. 3:41 - 4:15 = Dissonant proggy section? Perhaps try cutting this out to see what you think, as it seems to connect just fine without this in here, and it feels a bit out of place. 4:15 - 5:07 = Big verse again + drum variation 5:07 - 5:20 = Breakdown + more drums 5:20 - 5:34 = Chorus 2, meant to sound bigger 5:34 - 6:17 = Continuation to ending Production
You seem to be fairly new at this, so it may be better if we focus on arrangement primarily. Nevertheless, I would say that most of the production weirdness is actually in the choice of sounds (in terms of what roles they are apparently playing, or doubling up on), and how robotic their note intensities are.
Regarding the note intensities, they feel like they're mostly the same; an analogy is plunking on a piano with your fingers for the entire performance. They need humanization. A typical pianist would have phrasing, and in that phrasing, the note intensities have variation (randomness), and an arc (a flow or shape to it). This is hard to learn without learning an instrument in real life, but perhaps it will help to listen to how these differ:
https://app.box.com/s/ndt9vz26mjhdul6sreqgkvf6eqlp2qfy (Robotic intensities) https://app.box.com/s/lr9nxha1zbg5vfcxufqqvuiz9vjnliyu (Robotic rhythm) https://app.box.com/s/pmwybgad4who5679p9xvuxdnnmqshas5 (Both) https://app.box.com/s/jjapuupib9zfypwoew1ecr31nlq8siw4 (Humanized) This probably fits better as an arrangement critique, but... it influences how you would produce it, so here are some examples of how certain instruments seem to be not playing their usual role, or seem to be playing in an uncomfortable range.
2:49 - 3:14 --- the bass seems to be playing pretty high, so it's not providing the low foundation that it typically would. 0:48 - 1:00 --- the lead there is pretty piercing, since it's playing fairly high notes, above its usual range. 1:00 - 1:24 --- the drums you are using (snare, timpani, ...) are made for orchestral music, but here they are playing the role of the double-time 1-2 kick/snare rock pattern. It is because of things like these that there is a lot of frequency clashing, particularly in the low-midrange (250 - 500 Hz or so). The range above the bass hits here, the range of the left-hand piano would hit here, rhythm guitars would hit here, etc. Lots of ways to clash, and you'd want to avoid that. Whenever the timpani plays as if it were a kick drum in a rock drum kit (0:35 - 1:26 is an example), that adds to the muddiness of the production.
Besides the clutter due to instrument roles, also consider the clutter due to instrument count. I know it can be fun to keep adding and adding, but sometimes you gotta take out an instrument to leave room for another (call this competing for attention), and you gotta let the lead shine. An example of too much is 2:49 - 3:15, where everything competes for attention.
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Conclusion
Overall, unfortunately I would not believe this is going to pass the panel, if that was your plan. But it's a good starting point for improving. Good luck!

My, you've created something quite wonderful here. Where the heck were you when they were making the music for Breath of the Wild? The range of dynamics in this piece is downright poetic. You faithfully represent the source material all the way through while keeping it engaging. With little else constructive things to say, I say you have accomplished your goal of capturing the awe of a village of birdfolk nested in the mountains. Well done!

The first thing I must say is: WOW. That was some mad dancing on the ivories! It's busy, but in a way that adequately captures the frenetic feel of Kefka's battle. The personal ornamentation and flairs just made it even more unique and outstanding. Well done, indeed.

It's like a seaside lullaby. Nothing really jumps out at you, but the consistent tone and flow is relaxing and peaceful in a grabbing sort of way. Nothing is overpowering, it all just rolls together. 

An unexpected (but appreciated) take on the charming song of the Korok forest! My only complaint right now is that it's too short. It really gives me the feel of being the solitary shopper as I lazily stroll along aisles of... mushrooms.

*Holds up a lighter* It does the battle with Dark Bowser real justice. And then some.

Machine Passage was my favorite song from the game! It felt the most alien to the Kirby universe, almost like it belonged more to Metroid or a similar franchise. That said, I like what you've got here. It's pretty faithful to the original, but with different timbres and feels to make it unique. Throwing in the menu theme (also a favorite of mine) was a fun way to end it. Not much to offer as far as technical analysis goes, but I enjoyed listening to it.

I agree with Saron, you've got the start of something great here. I'd suggest working on the dynamics a bit to avoid some cringing. The synthetic choir sounding part is a little too high and shrill, such as around '0:52. I do like how you almost steep into a minor key at times, it helps build tension in the piece. Keep at it!

Your improvisation with the flute is quite enjoyable, a refreshing twist on an oft arranged song. I'll admit that the recording quality isn't the best, and that the piano sounds a little too quiet, but you've got something great going on here. Keep at it!

What a charming little medley (I suppose it could be called that, with at least 7 sources)! You got a real nice beach feeling, gentle yet energetic. I kinda wish it was longer, just because the many melodies touched on, but it doesn't feel rushed as you transition between them. I'd download it as it is.

I was expecting a simple cover, but you offered something quite unique and interesting. I was summarily impressed with the variation of the melody(s), particularly around the one minute range where it turned from Lavender town in Golden Sun into its own song. Maybe I'm just a sucker for the the old feel of Golden Sun, but the relatively archaic sound font doesn't really feel that obsolete here. The quiet sadness of Lavender Town mixes quite well with the awe and mystery of the Sanctum. The name "Souless Sanctum" kept popping up in my head.
At 1:39, when the string section comes in, it is a little deafening to the other parts, though. Maybe soften it there a bit, or make the other parts more pronounced. Wish I had more technical feedback, but I can at least say I enjoyed it. And am fairly sad that you don't intend to submit it to OCR. A really kewl concept you have here.

Well, to be frank, my first criticism is that it is too dang short! The opening hooked me in like pre-battle banter and readily gave way for a brief yet intense rendition. There must be more! It feels like the start of a six minute song, which I would already be interested in sitting through, based on the fifty seconds I got. Please do continue this.

To be frank, I was almost expecting a sort of themes and variations approach, but I was not disappointed with a medley centered on Zelda's Lullaby. It's equal parts lovely, awesome, and grand, with touches of dread. I was impressed with how well you blended so many song, right on top of each other at times. It only slightly approached being cacophonous near the end climax, but kind of demonstrated the clash between good, evil, dark, etc etc. Now that I am out of useful things to say: it's great.

Well, to be frank, my first criticism is that it is too dang short! The opening hooked me in like pre-battle banter and readily gave way for a brief yet intense rendition. There must be more! It feels like the start of a six minute song, which I would already be interested in sitting through, based on the fifty seconds I got. Please do continue this.

Grand, faithful, yet innovative. I rather enjoy how the timbres reminisce the feel of the N64 while still having a distinctly fresh feeling. Its something like a condensed adventure through the rambunctious isle of the apes. It'll find a welcome place on my play lists!

I agree that it could use some more variation, but the sound is great. The acoustic guitar doesn't overpower the strings/flute, it's nicely blended. You've captured the original feel of the track with a little extra oomph. Keep at it! 

I find it very impressive that you are able to pull off a mix of two emotionally charged tracks while throwing in the dubstep and glitch! It's intense yet touching. The parts sound pretty balanced to me, and it is engaging all the way through. I'd download it.