Rexy

Well, Bladiator doesn't seem to mind when he shares his sheet music, so naturally I shouldn't mind either

Who's Bailiff Byrd? Some n00b +1? Eh, yeah, I think that needs some explaining. ^^ What I attempted to do here was string texturing, where I had one patch panned half-left and a different patch half-right. I basically performed separate takes of the progressions on both sides before taking advantage of the volume wheel to soften out some of the end releases and generate some softer attacks on some of the opening section movements. I know this isn't a critique thread, but I thought it was worth mentioning

Who's Judge Judy? Some n00b? And don't panic too much about the pimp sections, we understand the waiting procedure given the long wait for the final few aired episodes. Haha; nuff said?

In other words, Chris wants that feeling of Christmas morning all over again Well obviously, chocolate money should be in most if not everyone's stockings Anyway, I know I need to start commenting on the mixes but I have been listening to them, I assure you.

Aw man, this mix is going way back. I remember catching it on VGMix several months ago, and even to date I find it to be one of Shariq's better works published. I can't associate the track with its inspiration given that I haven't listened to Matoko Jungle Jazz yet, but the style is there to easily capture the recognition X deserves. Naturally I'll quote in my semi-old VGmix review, which was somehow generated before I knew about his dislike for the play-by-play system O.o Naturally you can tell that I really enjoyed this; compositionally there's definitely a broader sense of ambition in comparison to some of his other works, and the atmosphere is also up there to generate a well produced track fitting of its moods. I do have to agree with Larry that some of the areas of the track sounded a little bit thin and empty on both fronts, but after a few listens you'll be able to see that it won't hinder the experience that much; just seen as a light distraction that might falter for some. But as far as I can see, this is definitely some great, GREAT work from Shark, and one that people should really check out. Well done once more, and let's see you provide some more material in the future

instead of playing sonic & knuckles, you should play Sonic 3 & Knuckles =P anyway.. i love this song.. is there sheetmusic for it? i'd love to play it Sheet music. Thanks for the compliment, and the reminder Inbetween exams last may I spent a lot of time in the music labs doing a lot of music-related stuff. Part of it was a bold attempt on publishing sheet music for my piano adaptations. However only two of which ever got published, and luckily for us, Tomorrow's Wake was one of them. It may be a bit rusty given that I haven't published sheet music outside college coursework before (and the sheet music's key has been brought up a semitone because of my own struggles with working in the key of , but if you want to fiddle around and make your own version (mwahaha?), feel free to do so. http://rexy.herograw.org/music/remixes/piano-sheetmusic/Sonic_and_Knuckles_Tomorrows_Wake_01.jpg http://rexy.herograw.org/music/remixes/piano-sheetmusic/Sonic_and_Knuckles_Tomorrows_Wake_02.jpg http://rexy.herograw.org/music/remixes/piano-sheetmusic/Sonic_and_Knuckles_Tomorrows_Wake_03.jpg http://rexy.herograw.org/music/remixes/piano-sheetmusic/Sonic_and_Knuckles_Tomorrows_Wake_04.jpg Now all that leaves is the wait for a long-overdue resub and a possible candidate for the site's first Dragon Warrior 2 remix

Ah, so that explains why he's taking so long to brush up mine

I think I'm a bit slow on this, but what happened to GrayLightning? O.o

I'm basically here for granting feedback; can't say that I'd be in the project unless someone wants my vox but yeah, best of luck with Team Shadow, 'Natt ^^

Kyle, you know I've finished a song for the project what makes you think I'd quit now?

Dude, I've been gone for so long and there's Bios here? If I have time i'll see if I could work on mine

Now this is peculiar; the judges liked the ending while the listeners don't. Interesting. Nonetheless, it's good to see Nixdorux make a comeback. I don't know why he spent this long since putting forth Shaolin's Cave just to come up with something else, but for us it's well worth the wait. We all know him well as a Zelda arranger, and it's about time some of his coverage for that series has arrived here too. Bravo. So yeah, it's time I re-approached my VGMix review on this one. So yeah, you can tell that I too wasn't too hot on that ending, although for the reason on that it totally changed the meaning behind the track title as established to the 3 minutes prior to that moment. (I can't blame him on the stylistic front - he *is* French after all. ) But yeah, it's still got a lot of heart and soul granted into the incarnation as well as much of his trademark sample movements to make his work stand out. In terms of orchestration work, *this* is the guy that people should be seeing into - lots of re-arrangement, plenty of expression and an all around very vivid imaginaion. I hope Nix comes back with more material soon, because his works are a pleasure to listen to. Bon travail!

But they're meant to be tinkly. It's Kirby! And I understand that you like your mixes to pass the OCR panel. You also need to see that the people who worked together just wanted to put across a great project for people to listen to, nothing more and nothing less.

Whew, after finally clearing Dragon Warrior 3 (huzzah), I managed to settle down and listen to the project this evening. Outside from Rainbow Resort and the ending theme I barely know much of the score, so for that I can't really comment on the tracks' links to the original material at this moment in time. Nonetheless, congrats on finishing up with the project, and it's good to see this creampuff starship making its way onto the OCR site. So now, I leave you with my light commentary. Drops of Dreamriver KirbyMixer's work at VGMix are of a simplistic attire and with a lot of focus on empty percussion, and for an opening his style is just perfect to establish the moods we have here. I actually dig a lot of the simplistic tendancies taken to this, doing well to add to a very reflective attire and a lot of reflective atmosphere as time managed to settle in. Some of these areas have worked especially some of the quieter ones, although in some of the brasher ones I feel there could have been some lower-end sounds to better fit the dynamic spectrum. I think what I think turned the track well enough was the darker moods that came in at around 3:40; I think they have done well to add to a more chaotic attire to better reflect the opening portion of the game's stated storyline. I was hoping for the triangle to have a touch more reverb though as well as some further humanisation upon some of the scaled xylophone movements near the 5 minute mark, but there's nothing wrong with what's established already. Very sweet opener. Free Breezin' Oh man, I absolutely love Darangen's work and this mix is of no exception. I understand the age that has passed by since much of his more stellar work but this is still just as cheery and upbeat to fit the dynamic "wind" effect that we're looking for. The overall performance executed on this track is excellent, and that has been shown with a lot of attention taken towards a lot of energy shown throughout to be able to fit much of his stylistic choices here. The intro was a bit straight-in, but it's still cool enough to emphasise its more dynamic point that has been showcased throughout the track. I was hoping for some way to show some further space upon the backing guitars to allow the lead to be able to shine through and some further tendancies taken through to drum levelling, but even with those lightly ageing aspects this is still pretty firm to take in. Welcome aboard to the project clan, Boyd-sama. ^_~ Cosmic Transformations The track's first "single", as someone stated further back. The SFX based intro and some of the drum techniques remind me of some of the techniques used in the opening for Braving the Flames for some reason, but have still worked well to create a well rounded establishment to be able to fit the feel for the travelling aspects of the mix. Much of the synth-based samples used in this were used affectively and I dig a lot of the textures used in this to create a very upbeat and dynamic establishment here. I was hoping for some additional processing to the flute sample although much of the volume establishments were very affective; I also appreciate some of the ambience granted towards some of the other elements like the pitched percussion (glockenspiel) used in some of the middle areas. The moods also meander from one stage to another; not sure if everyone may dig it but I do and it has managed to portray its point just perfectly. Good stuff from Adhesive Boy back there Creampuff Starship I often dig a lot of analoq's work for his groove-based establishments, and it's here he's gone for a mix which have been shown with a lot emphasis to a chillout-based atmosphere a la sonik special. The use of synth dependance and having that crossed over with some funky pitched percussion has been able to reflect upon the idea of a star hovering in space, so that can be shown to be of a very peaceful choice to the overall atmospheric choice the mix was looking for. His production work is often solid, so there's barely much I can be able to find wrong in the case of the mix here especially with much of the more climatic choices near the end. If anything a touch more reverb upon some of the pitched percussion won't hurt, but outside from there this isn't too bad. Kirby...tacular In my honest opinion this is the best track title I've seen established. It's here that I appreciate the moods to gradually swift to a darker attire given the key and some of the tenser groove-based aspects that have managed to come around, especially with what has been established. I can't tell if this has matched Rellik's standards or not given that I haven't heard any new material from him since his FF6 mix Dancing Mad, but much of his stylistic approaches are still there to approach the general feel that that aspect of the track was looking for. However, the main downside I see with this is that it's too short! I know, it's a bit of a hindrance on something enjoyable to listen to, but it would have been nice to hear it broaden up on that field a little bit. That said, this is still some interesting work from Rellik here. The Ballad of Sir Kibbles So what's the difference between the moods for Swift Hunter and Dream Hunter anyway? Still, it's interesting to see that there's an incorporation of Rainbow Resort on board here from Suzamebachi. I appreciate a lot of the broadening out from the theme here as well as a lot of stylistic solo attributes to be able to reflect the spiritual essences as shown on that portion of the field. Crossing over live instrumentation with synths has been able to fit much of the ballad-like tendancies taken to the title as well as reflecting on some of the more dreamy aspects on some of the mix as shown on the strings. Speaking of which, some of the texturing seemed to feel a little bit on the mechanical side so it might have helped to bring up the release time somewhat to make them feel smoother into leading into one part to another. But that's still alright for what it was, and I appreciate much of what came around. Starbound Heck yes, chthonic is one of those people that practically everyone I know has fallen in love with in terms of musical emphasis. While the thoughts taken towards stylistic choices and overall processing may feel a bit down-graded in comparison to some of his OCR works, the feel is still pretty interesting and moody enough to fit the warrior-like aspects of the theme. I actually started smiling at the referencing to the Green Greens theme from Kirby's Dream Land, so that has done well to link closer to various other aspects of the mix. I was hoping for a wider range of dynamics established on the drums to match with their rather stellar and amazing arrangement to fit with the other instruments, but this is still pretty cool stuff. Generalised Vegetal Oh man, I never thought I'd see Trenthian do something as emotive as this especially after seeing works like Sector 7 Hath Wrought The Angel. The more dynamic orchestration and synth blending has been able to add to the reflective atmosphere as shown for the idea of a general, as were the marching drums that soon managed to creep in and helping to provide a gradually more dynamic atmosphere, especially by 1:47. In terms of feel this has been able to captivate one of those near-perfect feels that have done well to round off the feel. I was hoping for some broader drum arrangement here as well as some further subtleties taken to the ending, but this is still pretty good stuff taken on that heel. I dig that. Aviator Soul And it's about time we got hear some material from Darkesword himself. I had a strange thought that Great Ace would be one of the harder ones to cover especially since it's difficult for people to figure out the right feel through those two words alone, but the overall climatic feel that was established here has still been able to work well enough to match his intensions. Having attempted to write orchestration myself I understand how hard it is to do something like this, so it's here that I have thought that the feel was a little bit on the mellow side in terms of developing dynamics, but I still feel that a lot of this has been able to develop as the link into the next of his own tracks. I could also picture GrayLightning saying something like "more reverb on the strings", but what we have here is pretty solid material in spite of that. Final Flight Now this is what I better know Darkesword for - electronica. The overall darker moods have done well to fit much of the climatic point-of-no-return tendancies taken to it, as showcased by the title, and much of the feel taken towards the overall "finalities" taken to it have been able to fit much of the atmosphere around it. The piano solo in the middle was also cool enough to lightly add a "breather" aspect to better fit the setting, and much of the synths chosen that have gone around it have been able to link towards much of his more stylistic approaches here. There's one thing that's still shown to be a light quirk to me here and that's the quietness of the drums. I was hoping for them to be a bit louder to match the energy as shown by the rest of the instrumentation, but this is still very good stuff witnessed here. Dreams of Valor I remember this from PRC 2-9, and it's good to see Bladiator, Hemophiliac and GrayLighning working hard on the same track, so that has left me to be familiarised with this way in advance. The overall mood has been able to add to the hero-like nature, and the lighter tendancies have also worked well to add to the "happy ending" feel that the track was looking for. I feel that as soon as the track reaches its halfway mark - more specifically around 1:50 - that the emotive grab really manages to hit the audience that way, and I appreciate a lot of what managed to come through on there. In terms of feel and emotion, this mix is almost perfect on that angle. If anything I have a few qualms upon some of the brass programming; I was hoping for the attack to be a bit stronger, but other than that this is a great and peaceful way to be able to round off the project. Kudos to all three of you. --- Overall I really enjoyed the project. I personally could have said that I'd enjoy it a lot more if I actually played the game (which I will eventually do), but this is still pretty firm stuff as established here. Having understood how long it took for the project to get created I can understand that some of the arrangers have done some better material in their time, but they have still been able to work out in creating a refreshing and very unique structure to aid in making a solid addition towards the OCR project collection. Shariq has been able to establish a good range of arrangers to help create a short but sweet album that has done well to serve its purpose and put itself forward just as much as the other two judge oriented projects on the site (Relics of the Chozo, Kong in Concert), so that can be saying a fair amount. Bottom line: Waiting patiently and with high anticipation certainly pays off. Well done

I actually dig that synth; very clever texture work without being too dangerous to the ear. Heck, even much of the arrangement here is shown to be what I think is Quinn's best material. For the past year or so I've been exposed to a lot of his mixes as they came fresh from his pile, and so you can tell that I've actually grown comfortable to accept his creative arrangement style. Having reviwed this at VGMix not too long ago I'll rope back the review I did over there for good measure. So yeah, that may not have been one of my most serious of writeups, but that honestly showed how excited I was over the whole thing. In terms of arrangement concept and production polish I actually found it to be one of his better works as well as being somewhat daring in comparison to the similar stylistic approaches of his prior works (which were mainly adapted from "Boss Uniform"). And for that, I digged a lot of it. However I don't know if it was me or not but I thought I sensed a clip at around 2:37? Or it may have been the way I downloaded it. That isn't seen as a big issue if that was the case. I did have some light qualms over some of the drum execution, especially when going into the second variation on Flash Man, but I grew used to it as well as most elements of a liberal nature. That said, I feel that this ranks high as Quinn's best release to date, for a high number of reasons. I hope he comes by to bring in more good stuff... maybe Solace in Second just to shut Liontamer up.

Aw man, I'm tempted to waste a disc in burning it off this instance. New Darangen at VGMix, new Adhesive Boy stuff over here, new project page too (which doesn't work at my end but the old one still does)... oh man. I'm so excited just to hear into your stuff. However it won't be until tomorrow morning my time that I'd eventually do so (yes, one computer still has a broken sound card and the other still has no net connection) but I'll be able to share my feedback with you all. And no, I won't go as in-depth as I do in the PRC; that would be ridiculous. Congratulations on the project Ansari-sama, and here's to one of the most unique projects granted to OCR thus far! That's it. After I finish off Dragon Warrior 3, which shouldn't be too long now, I will get started with actually playing Kirby's Adventure. Ph33r meh.

Wut? Some people from across town told me that stuff was flour.

Fokes, folks... I swear they both mean the same

Yeah, they deserve at least some of the royalties. If it weren't for them your masterful freestyle vocal kwak wouldn't have even reached the OCR judges panel in the first place.

Heck, I feel priveledged to see some material from Makke. His C64 works as a solo artist and as part of the C64Mafia are really amusing to me, and this is no different. I'd remember this for its catchy and upbeat atmosphere as well as a lot of production polish that I often expect from the slew of Commodore mixes that I've been gestured to. He's one of those reasons why those types of mixes are worth listening to. It's only fair that I show my full analysis on this --- Remix In terms of familiarities with the target material, this is one of the strongest aspects that I've managed to recognize with the mix, which has been able to match with the joyful nature of the original as well as shine as a unique addition to the Commodore section. All this has been showed by a very flowing progression that has been able to make out with that core aspect of the track, as shown with a very strong polished execution in practice here. One thing that I think I see as a core problem for me - and it can be a hindrance for some - is that the arrangement of the source material is terribly conservative outside from the more dynamic ending. I can say that the structuring helped to try and make up for it though, which has been shown with some strong associations to make the different parts of the piece tie together flawlessly. Some of those transitions should have felt a bit dynamic though, but it's still very pleasing to listen to especially with its Brit rock (?) structure. I also was hoping for the song to go on for a bit longer though, but for the point of an upbeat tune that may not be necessary. I can't say I ever played Dizzy the Adventurer, but comparing it to the NSF it's definitely got a strong aspect to make it stand alone from it in its execution alone. Creativity The vocals have done well to provide an affective way of layering the mix out; I don't care if they're meant to be relating to the game or anything, but it's shown to fit the "fun" aspects behind the target genre. However, outside from the spoken proportions in the middle ("How am I supposed to know? I never even ever played this game before…") and the dynamic melodic elements in the ending, there didn't seem to be many creative aspects that have expanded from the source material. Lucky for us, the sections transition well enough in a very cunning way to make the vocal transition to be smooth enough to work out in total. The vocals in fact help maintain the fresh pace alongside some of the leveling techniques as shown upon the other instrument to help lift up the atmosphere on various instrument aspects to make it freshen out. Even here repetition is lightly minimal throughout; if anything I'd point at hints of it on the drum riff or the chorus, however it can be argued that those aspects are typical in upbeat pop so I'm down with that. So in terms of the entertainment factor I came to appreciate much of the more simplistic aspects that came through it, and that's something that has done well to show a very clever vocal track towards the site. Even though I feel some of the true Dizzy fans may want more than that, it's still well worth that listen when it comes to detecting an interesting performance here. Production I found the production aspects to be one of the strongest aspects towards the mix, which has been shown with a good range of techniques to make Makke as he is. There's been some strong sampling with some of the keyboard instrumentation and possibly the drums, and I appreciate much of the characteristic tendencies as taken towards that aspect of the track. The choice of EQs is very well rounded and I appreciate a lot of the frequency tendencies taken through -very realistic for a piece of its genre. One quirk that has had me though was that in spite of the activity brought upon them, the drums felt a little bit empty especially with the thin sounding snare drum as chthonic pointed out, so I'm sure there can be some way to manipulate that sound to a stronger and more energetic quality to it. (I'm thinking the type of drum settings in "Walking on Sunshine" by Katrina and the Waves, a similar pop song with a similar approach to atmosphere.) The recorded elements were very clean and well showcased for what they were, which I think was showcased the best with the vocal quality as showcased here. I thought the guitars sounded a bit distant though, but if that was for an authentic sound it still fared well. The sound balance was well established, as was the panning, so that has shown that even through the listening experience Makke is capable of providing some well rounded production techniques to make his own creative arrangements stand out. Very solid work through that aspect. --- Well yeah, i managed to dig a lot of the foundations upon the tech settings and the overall flow of the performance, and I often expect no less from some great commodore arrangers. However, one thing tha that has often quirked me from those type of people no more than not was that the arrangement was way too conservative, so don't be afraid to add in some extra creative bits to make it sound more like you instead of "Dizzy and the Adventurers". That's what I think ended up hindering the track if anything much. but as a fun vocal track, I still managed to enjoy a good chunk of what came down. A very interesting no-brainer that's done its job well, and i appreciate what came through of it. Good work to you Makke, and let's see you come forth with some more musical material in the future.

Well yeah, this post may have been inactive for 6 months but I'm still game on seeing something like this. Blad's piano waltzes are very amusing and thoughtful towards me, and this mix is no different. In terms of composition I actually prefer this to some of his other tracks, mainly through to a more flowing performance and a more realistic sound as established here. Very good stuff. For a full breakdown, I have my thoughts right here. --- Remix From the word go you should be able to sense some instant familiarities with the source material, and it's here that the moods have changed a lot from the initial music’s frantic atmosphere. I found the execution to be well established and thought out for a live piano arrangement, which has been shown by a very flowing performance that has made its due course here. Variance from the theme is also shown with a strong variety of rhythmic incarnations as well as alterations on the note progressions themselves, so that has shown his idea of creativity from the original. Even much of the structure was well thought out for a short piano waltz, and there's definitely enough character to make the melodic structures work out. I felt a bit disappointed that it came to a close so soon, but I was satisfied with the ending sequence though. But it's here that the pros have easily outweighed the cons on that aspect and thus it can be shown to be a powerful track that stands out from the game’s score in a very characteristic way. Creativity Much of the creative and original melodies that came through ended up showing their own with their own varied moods and atmospheres to easily make the overall energetic pacing of the mix work well enough to aid towards the full textures. I can say that the sections generally link well together, but if there's something here that I think has dampened it, it had to be the sudden transition into minor at 1:27; outside from that the characteristic performance has been able to do well to make it stand out. There's a lot of fresh pacing as shown throughout, which has been showcased with plenty of dynamic expressions that have circulated throughout. It can be argued that the opening felt a bit too thin for some, but it has still been able to transfer the flow of the piece very fluently. One thing that I think this mix has benefited from more than anything is a total lack of repetition; in terms of rhythmic gestures, no two segments of the track sound the same, so that's very great to be able to realize. Being a sucker for piano arrangements I really enjoyed this; some of the later production aspects may tear the entertainment factor but it's still got a lot of heart to ensure its place here. Production The choice of the live piano itself is shown to be very thoughtful and well established, so I commend Blad on using that sound to make the mix flow smoothly. The ambience that was applied in the recording space has worked very well in my honest opinion, but what I think seemed to be missing was full texturing, so a light rise in low-end EQs won't hurt too much here. Mind you, there's something about the recording that's shown as a questionable concern upon most people and that's the light hiss on the left hand side of the stereo field. I would have loved to hear that get eradicated somewhat. Nonetheless, the leveling and sound input was very clean and sophisticated, and that has done well to fit the occasion. The panning ambience has also adapted fine enough for me, although one thing that I could suggest here is a lightly wider spread to make the piano sound come off as a fuller timbre. Thus, for a mix like this I found the technical aspects to be moderately disappointing but it still has broadened out from the settings that we have come to expect from Blad's library of mixes. --- I have to side with the judges on this one; the production wasn't too great, and I found that to be a blemish on the otherwise excellent arrangement and performance. But I have to say that the arrangement has easily expanded well from the source and has helped to show a very powerful and dynamic approach as shown to the target audience. Thus the pros easily outweigh the cons although only just in my honest opinion. Even with that in mind, I hope Blad will come forth with some further goodness in the future especially with his performance skills. He is one crazy piano bastard and we know it

Yeah, I too ain't much of a fan of Slayer either but he's used it well to match to the authentic Donna Summer-esque sound. Nonetheless, being a big fan of the game during my early teens I was instantly inspired to download it. "Blue Knife", or Kitty-N's theme as djp called it, is one of the coolest songs I heard in a dancing game and it still stands up today. The mix is basically the VGMix version with some extra production polish. I've noticed that with some stronger knowledge on EQing since its initial release as well as some fuller/thicker sounds that have been emphasised by the instruments here. However the quirks with the synthetic sample programming, as shown by elements like the strings at the start and the brass ensemble, still remain from the elder version and I was hoping for something stronger to face there. But knowing Robbie he's set to track down for some stronger equipment in his future work, so that's cool to know. For now the tech settings are just fine to absorb, especially for something as upbeat as this. Like I said, the composition's the same as the VGMix version, so I'll quote that part of my review there back here for full emphasis. Looking briefly at the judges' decisions I have seen that they absolutely loved it and wanted something to grant the game justice, which I think Robbie has done successfully. I also noticed that there were some light quirks towards licenced music. Having been into the game I can assure you now that the songs strictly relate to the characters at hand (especially the themes for Kelly and Capoeira), so I don't think that the songs were created in advanced by highly-acclaimed J-pop musicians. I was concerned that its pop music like format may make this mix struggle past the panel, but apparantly not. Nonetheless, it's great to see this mix has a home, and I still heart you for it, skipper. Well done on another success, and best of luck with getting your DarXide mix past the panel too

Are you saying it's more profane than me on the phone and sadorf on a message board put together?

Ah, now I understand. But how can someone hack into a website this easily? Sounds... awkward. Thank goodness for the new site

The site looks fine at my end. What's going on?