Rexy

You know, I had no idea that this went by the judges first. But hey, it's one track I remember extremely fondly from Unsung Heroes, so I'll go elaborate my thoughts. Beginning with this Police-like intro with the fast hihats, acoustic guitar and piano accompaniment, it doesn't take long for the melody to become easily recognisable. In regards to source the interpretation is rather straight-forward, but between the additional acoustic guitar writing work and the adaptation to what was basically a peaceful piano-driven source material while still retaining its beauty, I can say there's been a lot done that really managed to show its character. The package managed to come off similarly beautiful with some strong drum writing, attention paid towards the backing elements' emphasizing and the tones when applied. I'm amongst the people that especially LOVE that lead synth; it's got this delicate tone to it while still being expressed enough to fit with the upbeat soundscape, and it similarly reminds me of the time when I liked using these mellow synths in earlier works as well (though to be fair they mostly came out sounding like basic sine waves ); I'm glad to know the technique works extremely well for textures like this, and with OA's growth over the years it shows that his style managed to pay off immensely. It was great to see the track hit all the right spots on Unsung Heroes, and I really hope he doesn't stop with all the uplifting stuff that I love him best for. Again, a major congratulations for getting it all together and for making those contributions click

Alright, the OTHER God of War track off Heroes vs Villains. Like with Kunal, I enjoyed Brandon's representation of Kratos a lot; and similarly when I heard Kunal's work later on it goes to show that these two forces managed to provide one heck of a remix battle It starts out quite safe with the familiar taiko drums and string parts that consisted of the source, though hearing the soundscape change with the addition of all the industrial percussion and synth parts, it comes off as a great way to re-envision the track and take this direction that's distinct to Brandon's - while he provided the progressive, dangerous and adventurous route, this however managed to hint in this radio-friendlier, steadier and "divine" approach to the source. Admittedly I fell in love with the clean guitar/synth pad breakdown at 1:47 - it complimented the genre quite well, plus it managed to serve as a great bridge between that and the symphonic re-introductions near the end. Another thing I enjoyed was the sheer production values brought towards the organic instruments, with due attention being paid on the taikos; it's hard to get them portrayed as clear as the real thing, but as a professional in the music scene I can really understood that Kunal has a kean eye in emphasizing even the minor details. Very enjoyable work from Kunal, and in my honest opinion one of his best works to date. I hope to see him keep up his progression in the scene and keep contributing to the community within the near future

Kind of a strange track to make a short arrangement for - a 5 minute source and less than 2 minutes of a remix. But it's mp, so all is forgiven. The atmosphere tends to portray Tristram in this livelier light in comparison to the source material, and I commend you on the drum and guitar writing here; for one of those elder tracks, there's actually a clear tone sensed from the acoustic strings. Even the other components, while aged not quite as gracefully, managed to be mixed in well to give the track some clarity for its time. But I'm with everyone else here in that it basically feels too short for what it is which is especially considering the way the source material is structured; I'm usually fine with it on these elder tracks, but for something that was requiring more ideas to keep focused with, it may be a struggle to really appreciate for a long time. Fans of the game should still see some enjoyment out of it; short and sweet. Though I know that even back then Matt had the capability to do stronger works, it's still worth looking into if you can tolerate its obvious shortcomings.

To be fair, it was contemplated, but A) stylstically it didn't work with the track's direction, and I didn't think there was enough actual melody to work with its given purpose. We're still cool with #6 though

Yeah, a similar approach was taken out here as well - the Plant Man A-melody apparently made a good bass riff, Wily Machine 6's components made for appropriate backing, Splash Woman's A-melody also made for a good rhythm line, and even Hornet once contributed to some short string attack work somewhere (!!). To me it still sounds very Mega Man, though I can also say the writing has "matured" somewhat too. You'll decipher how when it gets unleashed. But it'll be neat to see how everyone all chipped in. Let's see the contest end in style, and best of luck to all

From what I can recall, the BGR is representing with Plant Man, Hornet Man, Splash Woman, Wily Machine 6... and ALSO a hint of Schala thrown in somewhere. Looks like there's two similar frame of minds around here, eh Gario?

Happy Abadirthday! And be sure to keep truckin' round here for another year

The Bad Guy Robots have been working hard, with one MP3 wip established at least as of right now. So I am sure to say we should be guaranteed a sexy entry x)

Nice going, everyone! Hope things all go well with your selections Now to contemplate exactly what I'm going to don for the custom avatar. This is going to be harder than I thought, in more ways than one.

Mirby's sure to get her dues for letting that beast come out of NOWHERE like that You are a monster, in a positive way!

You know, when I first saw this pop up in the to be posted list, I thought this was going to be a Bullet For My Valentine parody. But I guess that's where the puns end and the amusing tracks start; and let me say this now, I absolutely LOVED both sources you guys used! So, taking aside the not-quite-as-relevant-yet-cheesy anime quote at the beginning, what we have here is a track that manages to fit the uber-happy post-success feel of Route 225, and for the most part its involvment stays really safe to the source, though the additions to the source - and in halc's case some alterations to the melody via the chiptune elements - expresses the nature of all three artists as the track is manipulated. Even the WillRock solo brought in afterwards was really precise and fitted some kind of Journey-like twang to the track, and with the kind of flexibility thrown in to the hammered notes, it manages to adapt remarkably well with this nostalgic approach. Nice going, man The manipulation to the source taken aboard prior to leading into the G/S credits section may not have been the best way to go about it with the mechanical piano, but given its use as a bridge it could probably be excused. I had chills going through the last minute simply for the strange relevance relating to Pokemon games in general - you can do all you want after defeating the Elite Four, but you can always beat the crap out of them all over again and still feel fulfilled multiple times over; a sign that there's no end at all to being a Pokemon master Please excuse my reflective nature, but the stylistic approach from all three artists managed to create something that hit the sources nail on the head and showed a great amount of expression from all three of them. I can easily say this is one of my favorite tracks from MissingNo, so way to go you three!

Wrinkly's classroom often felt rather understated to me, given that it felt more like a mash of melodic ideas than a structured track,, but it's Nutritious and I felt trusting for him to handle such interpretation swiftly. After that ridiculous bass intro (!!!), the theme's arrival managed to adapt into this more lively setting that had been built into, and even though the original is already messed up as it is, a lot had been done to show the familiarity behind the source within the soundscape. Even going past 1:30, a lot was done with the backing manipulation to really maintain the familiarity and play around with this electronic twist. In fact, the attention to these synths and the manipulation on them throughout blew my mind, and even then he didn't back down on the string placement either, especially considering the orchestra appears to be his main skill card. I have to say, I'm not really a big fan of the dissonnance at 2:45 though; I understand that the synth does the B melody part and the bass synth does some groove-driven writing, but I would've thought some attention might've been done to the latter to prevent any such clashing. I'm just quite picky in regards to such writing, but with the amount of attention paid to the soundcape it could pretty much be excused. All in all, the DKC2 project was a great outlet to showcase Nutritious's diversity, and I am glad that he managed to play well with his tracks here. I've understood that he'd kept on improving his synth chops down the line as well so I'm glad he managed to keep a solid grasp on it, and so I'm all set to see how far his skills come in future endeavours

More old school Rayza, and I trusted him to provide the pure cheese back in the day; and here I got what I was looking for! Arrangement-wise, it stays safe to the source, and sticks primarily with the writing for the first minute of it, though there manages to be some good expansions in regards to progression - and the Formula 1 sound clips brought in were similarly very tongue in cheek The drum levels could've been better, not to mention the cheesy sound effects similarly being louder than the rest of the track, but for a mix that's 10 years old it feels very clean and well reachable if you're looking for something that's considerably more carefree in sound. Overall, I really dig this - fits the thrill of Top Gear to a T

I'll be there alright! This project is going to be pretty

You beat me to the punch! I was going to start a workout thread! So yes, it's January and quite a lot of us want to shift that Christmas weight, but it gets hard to work out if you're stuck with what the Gym is playing, which is usually the pop music of the day. Trust me, of all the times I've been doing Aerobics classes for the past few months, the Black Eyed Peas gets old kinda fast. >_> But if you want a solid Gym soundtrack, then it has to be something to match the energy. Preferably nothing below 120bpm (making it easier to keep to the beat?), must have a positive soundscape, and if it has vocals then it must inflict positive thinking. Here's my personal recommendations to take down to the Gym: Armored Core: Nexus "Hyper Monkey Likes the Dancefloor" (Mattias Haggstrom Gerdt / DragonAvenger) Donkey Kong Country "Chekan Winter" (Jason Covenant) Last Ninja 2 "Central Park Metal Mix" (Commando 64) Legend of Zelda: A Link to the Past "Labyrinth of Dance Floors" (Jeff Ball) Mario Golf "Fore on the Floor" (DarkSim) Mega Man 8 "Above the Clouds" (Jewbei) Mortal Kombat 3 "Mortal Konfrontation" (The Dual Dragons) One Must Fall 2097 "One Must Rise 2011" (DigiE) Sonic the Hedgehog "April Rain" (The Cynic Project) Sonic the Hedgehog "Still In Your Marble Zone" (DiggiDis) Sonic the Hedgeghog 2 "Chemical Blip" (Anti-Syne) Sonic the Hedgehog 2 "Chemixtrixx" (PrototypeRaptor) Sonic Triple Trouble "A New Ray of Light" (Sadorf / Sir NutS) Street of Rage "Bare Knuckle Blitz" (WillRock, and like someone said above me a lot of his works fit in the Gym ) Streets of Rage "Groove On" (ambient) Wild Arms "Telepath Tower" (Mike Saint-Jules) This may be just the tip of the iceberg, and I am sure others may contribute to this somehow. I hope these end up as a good starting point

For most of the time, I use Youtube to get the song. I would either then look up any MIDIs on VGMusic merely as a reference, or if they aren't accurate enough, I'd transcribe it myself (I believe my skills to be frighteningly accurate ). After that comes the studying of the different components of the source, and planning out the arrangement on paper, before putting it all to practice. And voila, my methods

I can't see myself being attached to any of those on the list, so I'll just nominate Rayman Origins, Super Meat Boy and Heavy Rain. o_O

I have been using Alicia's Keys for the past 6 months; fairly inexpensive in comparison to other patches, works well when used alone and comes with some meat custom settings. It's a Kontakt piano so it requires the player to use it, which one can get from the Native Instruments website for free. The only drawback is that it's very delicate in texture, so you may need to keep looking if you want something for more aggressive sounding works.

Two great remixers, two people I remembered from making their start in the People's Remix Competition (boy have they grown up fast ), and two downright great people overall! A hint of fruit for the Swede: And a hint of sweet for the fruit: Hope you both have/had a great time today

I remembered when Lara Croft was used to advertise around 10 years ago. And boy was it awesome.

Didn't we have a thread like this before?

Let me try and list a few that stick out for me. - Okami - Rayman Origins - Wii Sports (don't ask it's quirky enough though to warrant coverage eventually) - Super Smash Bros Brawl (if only for the main theme) - Maybe Professor Layton? Should handhelds count? All I know is that my dad loves it and I'll take it in its stride. As for games on the list, I'm in favor of Portal, Heavy Rain and the Mario Galaxy games. Hard to find an emotional connection elsewhere though.

I remember liking this a lot when I first heard it; it's face melting Sixto, but it barely ever grows old. Indeed, there's this hint of difference thrown in with the ambience and the steadier tempo, as well as the movie quote to fit with the transition straight to the source. There's been some good separation of the pulled-off synth and lead here, which managed to work well for source manipulation, not to mention some great wah manipulation in the second variation of the theme in particular that further adds fuel to his playing style. Even throwing in the regular boss theme at the 3 minute mark, and served as a great accompaniment to a strong face melting solo. Not quite as progressive as some of the others I have seen in past mixes, but the precision is easily there. I must admit, the fake ending took me by surprise, though to see the second half of the Shredder boss theme come through to end it properly erased doubts altogether. Even then the ending still felt a little anti-climatic, but as long as the structure's there, I'm cool with it. Production-wise, it's clean Sixto with a lot of detail in there. Not much difference I could sense from past tracks except the drums sound much sharper and fitting the genre, to the point that I could literally feel the smacks of the kit as the track goes through. In fact, even the drum writing is fantastic - usually I don't pay attention to it because it tends to get a bit same-ish in playing style (and by that I'm picking similarities in "Go the Distance", "The Skull Fortress" and "Metamorphic Rock" here ) but the amount of precision and energy brought in especially in varying up some of the cymbal parts and fills as well manages to really make it shine. Sure, my only complaint with it though is that the 'chorus' sections tend to feel copy-pasted, but I couldn't really envision them any other way. Otherwise, this was a GREAT addition to BadAss and marked a fantastic year for the Shredder, and I hope Sixto keeps melting our faces off in the time to come. Remember, play more, buy less!

I remember not quite being wowed over this one when I first heard it, mainly due to the length and randomly changing soundscapes on the beat. On the positives - the theme itself is surprisingly manipulated for what it was, and the manipulation of the chocobo sounds adds a hint more fun to it The production was decent for its time; kind of muddy now in comparison, but there's been some good attention to clarity and particularly the selling point in the panning. Even the tuba, which would indeed sound mechanical by today's standards, managed to fill in some good space in the mids and added to the mix's quirky nature. But all in all, it's a short and quirky mix, and whether you'd come to appreciate it would be down to stylistic preferences more than anything else. I don't mind the length nowadays; for something as brief as the Chocobo theme it's workable. Either way, I see this as one of the more different entries in mp's library, so if you want to get your bwak on, be our guest.

Metal Man, the PM you sent me was just a "hello". I didn't receive any WIPs from you aside from your "sheet music" sketch.