Rexy

That's Google Translator for you, Kyle. The least we could do is figure out what he really meant by shifting some of the lingo around. Still, I DO somehow understand the fact that Gentry sounded as if it got some inspiration from Chrono Trigger's "Guardia Milliennial Fair" (hah, maybe Aleah WAS right with the fairgrounds connection!) but the "pathetic" link makes me feel rather uncomfortable. Then again, if the Japanese "critic" also loved Sir Nuts (nothing wrong with that), I'm assuming he's probably younger than 17, so there we go. Typical sushi-penis power, maybe?

Well, there are cameos to both the opening and ending themes to Door to Phantomile thrown in there, but other than that it was a case of analysing this particular musical style and seeing how Presea's theme would work in a reimagined sort of way. I do get what you mean by the "harshness" though, moreso with the equalisations rather than the patch expression. I'll open up to be guilty for opting for the mid-high range to go against the mid-low frequencies of the piano patch that I used; I think I've known better than to manage that type of approach since. >.> Nevertheless, I do understand where you're coming from in spite of the initial confusion, so thanks for the clarification.

I pass my regards here for the critique, though the unfortunate thing is Dream Traveler was one of my favorite ones to write and I was actually dreading those that might not "get" it. * I actually get bitter when someone ends up looking towards my sample bank at the time of writing, which was in a college music tech lab in early 2006. It's not so much the samples you choose but how you use them, and that so turned out to be the only one that sounded remarkably close to a real string quartet rather than most of the synth ones around. (Note that if I ever brought in my own samples into the lab, I'd get sanctioned for it. >.>) * The reason why it ended up sounding a little more "harsh" in your words by the time the positive second half kicked in was because the attack power of the patch itself completely changed at that point. To make it fit with the tone at that point, I had to reduce the attack power to make sure the energy behind it would work. Otherwise I bet I would have got criticised for doing the complete opposite. * It wasn't so much the production I was concerned about in this track but moreso forging the link between Tales and Klonoa with the writing (the latter being a cosplay that Presea pursues late in the game), especially since the original titles was clearly one of the most beautiful titles I had the priviledge to play back on the PS1. If I had been able to forge the link just right, then that's where I feel I would have succeeded more. (In fact, those disappointed with the track when it got played on VG Frequency #84 prompted me to jump onto standby to do some stuff for the Phantasia side if Kyle wanted me). I know this comment might have come awkwardly bitter, but either way, I'd say thanks for the comment, even though you might not necessarily understand the creative processes behind it. I'm keen to hear what you have to say for the last batch of tracks though.

Oh, while I'm here, the team at This Week In Geek promoted the site and the project in Episode 54 of their podcast - about 31 minutes into the show. So yeah, glad to see they spread the word

See, I TOLD you I could see something in Sylvarant's field music! I pass my congrats to Showroom Dummy as well, and of course to Palpable for his extensive commentary on all tracks

Concerning Tetris Nintendo's A theme, I don't think it would be included since The Nutcracker is too immensely well-known for some of its music included in Tetris games to be applied for OC Remixes. Troika, on the other hand, could have potential due to its obscurity (not to mention it reminded me of the corny funk version I had as a default track on my first yamaha keyboard EVER), though I would have thought it might have had a remix by now unless someone's willing to correct me... >.>

I've only just helped the cause too. $20 for the OCR team

Yeah, I knew that Starla had contributed vocals, but it took at least a couple of listens before the project's release (yay archive leeching) to figure out that they aren't going to be overlayered choir vocals (a la Destiny's works) and more like something as a background accompaniment, as you'd stated. So yeah... call me one of the more alert ones

Thanks for the first CD's writeups, Vinnie. Don't worry about unfamiliarity with the source material, I felt exactly the same way when I passed my feedback on Rise of the Star. To be fair, my current home production setup is still being built upon, so I'll take the tech crits aside regarding the soundbank for Gentry. Still, thanks for the feedback regarding that. If you thought the transition to there from Momentary was good, wait til you reach Disc 4

Aw, god damnit... it HAPPENED without me knowing?! Snaps, you NEED your regular dosage of watermelons. And if you want them so bad, at least don't change times against our knowledge.

The soundtrack rocks, I agree, but I wouldn't call it THAT much of a "great" Crash game if it was somehow revealed to be mostly unfinished for the most part. Still, if a metalhead attempts this, AND gets it on OCR, I'll so EASILY have their babies

Nintendo DS? AND a convenient time for me?! Count me in, Snaps.

Well, since OCR has Cave Story as a game listed (and since that game itself was used for PRC91), I don't see much wrong with homebrew games. As to Prophecy's presence... welcome back

Surprisingly, I never noticed that (great source tune too), but anyway, I offer a belated welcome to the "secret referees for random crap" club

Part of the reasoning behind Gentry's title was related to said time signature, so I feel surprised that you were slow to pick it up. Thanks for the compliment either way

It didn't stop me from listening to "Rise of the Star" before I played Kirby's Adventure, or even listening to "The Dark Side of Phobos" whilst having never played Doom... or even taking part in this particular remix project. My personal view on this is that while we accomplished a mammoth project together, I feel that there are more highlights on the Symphonia side than there are on the Phantasia side. It's disappointing that you aren't prepared to listen to it without knowledge on the games themselves :\

Yeah, if you're really overpowered and don't need to heal for another few turns. This brings me to another guilty point for me - whenever I feel battles like that are in my odds, sometimes I end up pressing whatever keyboard button it is to speed up the game multiple times over. That's yet another reason why I try to refrain from emulators other than for playing games that never got released out here >.>

I'm actually more keen on the coming Greatest Hits release (only just got into the franchise through World Tour, so I'm intrigued to play the classics), but if the reception on it seems good, then I might look into it.

3 months late in response, but I'll reply anyway Concerning the ending, a darker ending would have been something that I almost did, but prior to writing it out I personally felt the subdue nature of the rest of the mix meant that something like that could be overkill. And even if I did, the mix's title would have been entirely different (its original name was "Betrayal of Time" when writing it, fact fans). The lighter ending ended up coming from a personal experence that I faced with family relationships (hah, same source of inspiration as "Tomorrow's Wake"; go figure). Things started to become somewhat brighter in spite of facing a personal struggle, so I needed to try and reflect that mood as a source of inspiration. (Hah... I am a complete sucker for stuff like this.) And there we have it, the direction for the ending in a nutshell.

Let me take the time to answer your query, sir. The keywords are in djp's description - melancoly, yet hopeful. So if there is a middleground between chill and energy, that's where the intension lies. Work on the mix itself begun in November of 2004, where after spending 2 enjoyable months of University, I started to feel reflective regarding my return home for Christmas. The general feeling that I ended up having at the time were that I would have some highs and several lows, and whenever I end up experiencing lows, I would disregard it and think of doing my family proud. It would also apply for similar situations that you might face. You may face several mishaps in life, but you gotta realise that there will be a light at the end of the tunnel. (corny wording, I know, but it works!) I hope this helps answer your question

I don't think you need to repeat the "source criteria" specification to repeat winners, Bunde. Anyway, congrats Weas! (don't know what else to call you lol) Seriously, when I heard your mix I somehow got more of a reminder of tracks like "Monkey Love Song" and "Monkey's Delivery Service" in style; were you deliberately trying to think of Salsa when writing it? Either way, nice work all. Onwards to PRC143, and keep up the good work!

Interesting turnout; I'm already finding difficulty in picking 1st place Good work, team.

As much as I love being a gamer, I just HAVE to join in on this one. * I've never used cheat codes since the days of the Genesis, and never used an Action replay or similar device. But I DID abuse save states when I discovered emulation, but since my skills grew I used them a lot less. The last time I had to rely on them, shockingly enough, was trying to beat Pluto in the PS1 version of Tales of Phantasia. * Disrespect of another system happened a lot back in the day too, or at least before I even had a Wii. Being a Sega/Sony kid, I wanted nothing to do with Nintendo and had completely no understanding on why Mario was so popular, therefore bashing it like there's no tomorrow. Though, I secretly hoped for an N64 just so I can play Banjo-Kazooie... >.> * Typically, I DO finish what I begin, but there are TWO replays of Kingdom Hearts 1 that I completely gave up on in favor of other endeavours. Both instances were indeed at Hollow Bastion. * I had to watch one of my cousins play through the last boss on Tomb Raider Legend and figure out everything, though my inner-thoughts regarding what should be done came more naturally. And when she DID find out what to do, she got bored when she was half-done. Buh? And that's about it

I wouldn't call "Pain Withstanding" a pain to listen to (lol); it's obvious that the production side of it felt a little dated in comparison to the epic collab later on in the album, but it still showed a great deal of your arrangement skill and interpretation of an otherwise droneful source tune. Relax, Katie; in the context of the album, you did fine

Nah, your comment was much appreciated. Although, even though I take pride in all my contributions in this project, I tend to be prouder with my Symphonia tracks moreso than those on the Phantasia side, even though the former were made earlier. On the contrary, I actually grew to like "Dark Corner" the more I listened to it (though, I think CPac's best work on the project is "This Fate" personally). But I do agree that its liberal approach would make it hard to adjust to potential inspiring remixers, though this definitely isn't the most extreme case of which I've seen around the remixing scene. The more awkward thing is that when looking around on the web to see which tracks on the project were actually at fault, as usually brought up in project releases at such a scale like this, criticisms like this are actually harder to find than all the appraisal - much against what happened with Project Chaos when fingers were pointed all over the place (bringing that up because I was involved in that too). So when you get sparse comments regarding imbalance in QC, the staff and musicians don't know who could have stepped up their game so much more until they find out through the constructive feedback received. At any rate, we appreciate all comments on board regardless of feeling