Geoffrey Taucer

@IForgotMyPassword might wanna tag @prophetik music to make sure he sees this. Also @Global-Trance

Congrats to both! I want to especially give a shoutout to @prophetik music, bro. You've been around in this community for so long, contributed so much, and I know that I personally grew SO FUCKING MUCH as a musician from working with you!

Ten years ago, we were mostly teenagers and college kids who thought the internet was serious business. Then we (most of us, anyway) grew up, got jobs, got laid, had a few drinks and smokes, and learned to chill the fuck out. Don't worry, we were all shitty back then, and we mostly don't remember anybody's shittiness from ten years ago except our own.

oooh damn this is badass. Love it!

Saw it, and it was a blast. Not necessarily a "good" movie in the conventional sense, but it was bad in all the right ways. Enormously cheesy, and it completely embraced its cheesiness. The soundtrack was perfection. The movie was a blast from start to finish

Tetris Attack

Sad to hear it. Loved his stuff

Tangential question; Aside from tradition, is there any particular reason each mix has to have a primary game? I mean, couldn't each mix be tagged with a list of games it draws from, and subsequently show up when somebody searches any of the games the mix draws from?

Oh man, forgot to mention @Sam Ascher-Weiss I never really felt confident in my ability to improvise until I jammed with Sam and @Escariot that one year at MAGfest. Best way I can describe playing onstage with Sam is that he exudes an aura of genius that makes the people around him better musicians. I'm not exaggerating in the slightest when I say that I believe Sam is one of the most brilliant musical minds ever.

I definitely want to; I just don't have anywhere to set up for recording right now.

Not familiar with this story. Could you enlighten me? @kaijin was definitely the biggest one for me. His stuff was what made me want to become a remixer, and learn production beyond just midi arrangement. @Ailsean gets an honorable mention; when I started playing electric guitar, I spent a LOT of time listening to his stuff and trying to learn it. Not so much the crazy solos, but the general lead work, how he'd use pitch bends and pinch harmonics, that sort of stuff. To this day, whenever I am testing out a new distortion pedal or a new electric guitar, the first thing I play on it is the chorus of his arrangement of Singing of the Gentle Wind from One Up Studios' Mitsuda Tribute album.

Journey Breath of the Wild Horizon: Zero Dawn

Cool find!

I'm not currently, but only due to my current living situation. As soon as I live in a place where I can get my studio set up again, I will DEFINITELY be remixing again.

EVAL: Production is stellar. The instruments sound great, and you got the reverb exactly right. Arrangement is mostly strong; I can imagine some of the judges complaining of medley-itis, but I don't think that's enough to hold the track back.

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Holy shit, this is nice. HOLY SHIT IT HAS DOBRO! NOW IT'S EVEN NICER! Loving this, and definitely going to grab your album!

I know I've already said this in a few places, but I just want to whole-heartedly endorse Prophetik-built computers. I got one from him about 8 years ago, and I'm still using it (albeit with a few upgrades made in the years since).

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Always love me some Chrono Trigger! Alright, here goes: EVAL: Piano at the beginning is nice, though I'd back off on the reverb. The tambourines in the background seem out of place, and also a bit heavy on the reverb. The distorted organ is an intriguing choice for the chords here; my first thought was that it was some wierd power-chord samples, but a closer listen makes it clear that this is something much more interesting. Jury's still out on whether I like it. The transition afterward (starting around 0:30) feels too acoustically busy, and has nothing melodically or rhythmically interesting, and so as a listener I don't know what my ears are supposed to be focusing on. At 0:50, things are getting a bit better. I like the bass tone. Some dischordant parts in the background synths, particularly at 1:07, but I feel like that might be intentional. At 1:18 we're back to the more rock-ish stuff. The distorted organ is sounding great here! The lead synth seems a bit mid-heavy, and I think the melody might work better an octave higher, or with a synth that fills in the high-end more. The Guitar-ish section after this is a bit too loose for my liking, and it also feels a bit out of place; bringing in a guitar for just this section detracts from the novelty of the guitar-less rock approach you've established thus far in the mix, while not really bringing enough to the table in and of itself. The chord progression sounds weird, particularly at 2:10; would love to get some thoughts on why that chord doesn't sound right from somebody with more knowledge of music theory, but all I can say is it just sounds like the wrong chord for the progression. Section at 2:13 sounds fine to me, other than that crash cymbal that you're hitting each quarter at what sounds to me like the exact same velocity. Vary up the velocity on that a bit more. Otherwise I like this section. The Key transition at 2:37 sounds a bit odd (again, somebody with more knowledge of theory than I have could probably provide further insight), but I quite like the rhythmic changeup. The toms in the next section (starting at 2:51) are excessive, and this is make all the worse by the samples sounding too thin. Other instruments sounds decent, though as earlier the reverb is too heavy for my liking. The brief organ run at 3:18 is cool, but the kick drum is too repetitive in the section immediately after. Some really cool stuff going on, but there are too many flaws for this to be sub ready. It has excessive reverb, repetitive percussion, and some jarring chord transitions. I'd also look for ways to shorten the intro and outro.

EVAL: Reading through Gario's earlier review, everything he liked about your earlier edition of this arrangement holds true to me in this one. The synths feel a bit heavy and harsh at some points, and the compression is a bit heavy, but I get the impression that this is intentional. It makes the mix a bit tiring to listen to on headphones, but damn would I love to hear this one blasting over a good set of speakers with quality subwoofers. Bass mostly sounds fine (if a bit tiring) to me, for the first section the mix, but there is still some odd dropouts later in the track. 1:32, 1:48, and 2:48 sound suddenly empty in the low-end. I love the ending. To me this one's borderline, but I'm leaning towards a YES. It does feel heavy and overcompressed, and the bass dropouts are odd, but both seem like deliberate stylistic choices. Good luck!

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Since this mix is a couple years old now and as far as I'm aware nobody has found the easter egg: The demonic chanting, when played backwards, says "You found the secret message. Have a cookie!"

[This is an automatically generated message] I've reviewed your remix and have returned it to Work-in-Progress status, indicating that I think there are some things you still need to work on. After you work on your track and feel that you'd like some more feedback, please change the prefix back to Ready for Review and I'll review it again! Good luck!

Wow, we've let this one go way too long without an evaluation! Sorry about that! Anyway, here goes: EVAL: Arrangement: The vox are.... well, they're cheesy as hell, but they were cheesy in the original, so I can't really fault them for it. The soundscape feels a bit too sparse for most of the mix. The lead synth is a bit too harsh to be used as extensively as you are without anything else going on. IMO, a sound that harsh can work fine in short bits, but gets tiring when it continues as long as this one does. The choppy section starting at 1:15 is kind of cool, but still a bit too sparse and a bit too reliant on the synth I mentioned earlier; it would work fine if that harsh synth hadn't had so much presence earlier in the mix, but by this point my ears already feel tired from it. Percussion needs more variation. The vox at 2:16 hit (and sustain) a wrong note, or perhaps they're off-key, or something I'm not sure what but that sustained note sounds way off. This whole vocal sections sounds out of key, but that one note is particularly jarring. Having a vocal line this exposed is a bold move and can be cool when pulled off successfully; but here it is not pulled off successfully, and the vocal performance just isn't of a quality that can stand this exposed in a mix, I'm sorry to say. Even later in the mix, when the vox are less exposed, I'm still hearing some jarring wrong notes. I love the synth line starting at 3:53 Production: The whole mix feels overcompressed, and too heavy in the high end, with not enough going on in the low end. The drums especially sound thin and mechanical. The verdict: not sub-ready. The synth tones and mastering are too harsh and tiring to the ears, there are too many wrong notes in the vocals, and the mix is too sparse in the mid and low range.