Rexy

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

That was quick, both of you Seriously, Mother 3 is a FANTASTIC late addition to the GBA library. Even if you're not as adept at emulated gaming as opposed to using the actual technology, it's something that you shouldn't miss. The track I chose here is one of the more prominent battle themes in the game both on a melodic and structural basis. It also reminded me of all the times I struggled against Yokuba (or Fassad as he was known as in the Starmen.net team translation) and eventually prevailed. Even if you haven't played the game, odds are you'd probably have heard it through Super Smash Bros Brawl anyway

Oh, absolutely. I wouldn't call the production up to OCR standards as such, but what Dan did was pulled out one of the most creative surprises on the Symphonia side, and it's something like this that makes me feel all good inside. Mind, I wonder if Usa ever posts here anymore >.>

Juvenile or not, it's still a valid opinion. I would have also accepted it if I was still hosting this thing. Sure, he's definitely turned several heads with this, but there's nothing in the rules that say that voters shouldn't have a genre bias or anti-bias (though I do agree that that's a horrible thing to have concerning the latter).

Eino, your feedback rocks. I'd probably think with a clearer head if I wasn't so sick at the moment, but I want to pass by a quick thanks and some clarifications. As stated, the piano part was all live, but everything else was a sequenced backing track for it. I did spend quite a bit of time in bumping up the piano's presence in comparison to other tracks, but if you thought it was still drowned out, then that's ok; it's something to consider for next time. And as stated in the Summoning of Spirits thread, then yes, drum processing is an area that I seriously need to work on more. I've managed to explore with a new patch I found earlier this week and might explore it for future interpretations, depending on the circumstances. Either way, thanks very much for the feedback

Well, I didn't start taking part until the middle of the 2nd season so I wouldn't know about how seriously everyone took the contest back then. Even when I did, kamoh's feelings regarding this were heavily leniant and I think most of the damage was already done by the time reelmojo came back. Even so, the whole thing regarding serious competition would rather boil down to whom decides to take part and how they approach it, rather than how we view the whole thing. If you've got a confident idea with your take, then go for it no matter what your views are.

Lol, I have to push myself into a debate on a sick day? reelmojo's mission in making the PRC was a chance to get under-appreciated game music tracks the chance to be remixed. And as previously stated, the contest-like framing is a way to be able to stimulate yourself in productivity. Whether you want to take the experimental approach or wanting to brush/build up your own strengths is entirely up to you, but at the end of it all it's just all a bit of fun. I mean, I wasn't expecting to overpower someone who had the idea to use a theramin of all instruments (nice work jmr!), but if that's the way it had to go, then there we are. I only just took part in this because it's one of my favorite tracks in the Mario Galaxy score, and one that I almost considered as a source tune myself. And concerning the source tunes, remember that pretty much all the curators have had pretty much very different tastes over the years. This could be evidenced more in anniversary selections more than anything else - kamoh had more of a passion regarding sports games, which resulted in a very contraversial 2nd anniversary choice. On the other hand, Caleb and I have ended up looking into various action titles for selection, though his selections were more button-masher-happy than what I managed to conjure. As Bundeslang stated, people have completely different tastes, so if the curator ends up picking source tunes for it all the time, then the contest could wither and die out of lack of interest and variety. That's where the chance for PRC winners come through in providing source tunes - those that strike the jackpot could result in high turnouts and/or even get a chance to forge a future OCRemix out of it (re: PRC120). Otherwise, we could end up resorting to the earlier days of PRC's 5th season with a continued string of "Chickenwarlord vs the world" or something. I bet there'd be people who'd think better on this subject than me for the time being, so if you want to add, then feel free. Concerning my source tune, I've decided on the game to go for but I need to seek for the right song from it. I'll have it submitted in time easily

And this is why you'll never see me get picked up for an "elitist" OCR project. Anyway, thank you very much for your feedback on my Phantasia tracks, 'talo. (lol don't know what else to refer to you as!) You got it right on that I have issues with drums mastering, and that's rarely something I can get done right, but I still feel happy enough with my compositions nonetheless. Concerning patches and stuff, both tracks were made in completely different production settings. "Middle-Aselia Bilogy" was forged in a music tech classroom some cold December of 2006, and "Gentry" was cleared with my current home setup as per April 2008, with what was then seen to be one of the most powerful keyboards in the UK market. None of the tracks have any patches in common at all, so I wouldn't see them directly affecting each other at all. Of course, for the lead-writing in the aforementioned Treant work, I somehow ended up taking a few tips from some of Yoko Shimomura's tracks for Live-A-Live and layered different instruments on doing similar motifs. You may not notice it, but there's also a string patch underneath the flute that plays more of a straight conversion of the melody, and I thought that would help try and soften the tone a bit here. Besides, since it was a forest mix, I thought it would be more natural to make it more woodwind-oriented to try and reflect the tone of the setting, which was what I was feeling with my initial direction with this. It still kinda irks me that you have a long way to go to reach my other two tracks for the project (which I think are both heads and tails above what i managed to do on the Phantasia side IMO) but for now, I'd have to say thanks very much for the informative feedback

Lol they capitalised Usa's name. He was well pissed with that back in the day. Still, glad to see their support in their review

That sounds like a total coincidence. "Summoninng of Spirits" the track was one of the first ones completed for the album. I had no idea that bLiNd would fall sick near the end of its development, if that's what you were trying to get at

Somehow i have a feeling you'd potentially bring in "Middle-Aselia Biology" into the conversation with this. Let me stick up for it in advance and say that the crystal bell riff dissonating at times was present in the source material as well, so I thought it seemed natural to go with the flow. ...and that's another monkey off my back

Wow, thank you I somehow saw it as one of my more experimental compositions for this thing, but I'm really glad to see that it's paid off. Concerning the general feedback given, we as a team appreciate the message that you provided. Course, as Brad said, not every project is going to be like that FF7 project from a few months back in terms of production level, but that's not the point. What kept us stimulated is doing justice to an otherwise undercovered RPG series, and if the feedback from this thing is good, then we'd see it as a success. Again, thanks very much for your post, much appreciated

Either that, or pretty much all four of my subs were TOSE-style ninja developments, or something. O.O Thanks for spreading the word Kyle

That kind of annoyed me too, but at least I did something about it.

Enter my two pence on the whole Full Force argument. When I first played Symphonia and heard the track as the core battle theme for Sylvarant, I initially thought it sounded catchy and it had me wondering why it wasn't covered. However, as Kyle pointed out, he ended up picking a lot of battle themes that managed to surprass it on a melodic and/or climatic level for this thing, and I have to agree with him on his selection. Talking of which, "Keen Edged Blade" is one of MY favorite battle tracks in Symphonia. Silas's take, while cool to listen to from a project perspective, somehow seems to be rubbing shoulders with me as it sounds like a liberal take on the theme. Can anyone provide a source breakdown in case I'm missing something?