Digital Coma

Guitar sounds like gnarly armpit music, please rectify. Defined bass and drums are sorely needed as mentioned, although the tinny synth counters the riffs well. Good interludes, but there's not enough there to justify a two minute mix. Nevertheless, the melody played upon is very catchy, so clean up production and expand! You just might find yourself with something great. NO; resubmission suggested

Redundant indeed; underwhelming, indistinguishable, and conventional are some other choice words. Not much in the way of arrangement or instrumentation done techno is the cause of much prejudice of the genre. Separate engaging elements, harmonial mix-ups, counter-melodies - basically, less reliance on one catchy chorus is in order. Rather mediocre as it stands. NO

Agreed on the note of percussion; those hats get annoying fast. So I'm at the :50 mark and nothing has really happened yet. 1:16... 1:30, okay, a fill and some intervals. Here comes the melody, delivered in stale synths, some weird lonesome pads, and end. I don't know what was supposed to happen there, but if anything did, I didn't catch it. I'm not familiar with the original but I'll take a guess and say this didn't rearrange much of it. Please work on structure, drive, and development. NO

I'll take the minimalist original over this, thanks. I skipped ahead in 30 second increments until the end and I never heard anything new. Repetition to this extent is just uncalled for. The source material might not be much, but this is not the way to deal with it. NO

Um. SMB underground to SM64 wing cap to SMB theme to SMB underground to SMB theme to SM64 wing cap to SMB underground to SMB theme and underground in conflict to underground in unison. Right. In retrospect, using the wing cap theme as chorus is sorta neat, but not when it's verbatim +mockup beats, as is everything else. NO

Dynamics plus acoustic instrumentation equal lively, and lively this arrangement be. Effective woodwinds, grandiose architecture, and elements of surprise (1:18) all make for warm music. The exposed brass isn't convincing at all, but it rarely ever is synthesized, so may as well ignore that and enjoy the rest. NSF transcribed to showy orchestral is always [pro-Disney adjective]. YES

I so think Synthpooped is a cooler title. Took me a while to find the original from the NSF - cool remake of the original with NESesque synthwork and bends galore; mostly note for note, can't say there's much more to it. NO

Not bad, not bad at all. Well-realized development, rearranged with a good measure of success, and pleasant to the ears. That's all that really matters if we go back to the basics. Not exactly, but you get the pict... idea. The grunts and flame fx are superfluous, but not a big deal. Really enjoyed the exaggerated DSP synth stuff along with the usual orchestral. Not a perfect production by any means, but certainly a fun and legitimate listen. YES

Not too much in the way of harmony here - much of the piano seems to be just for the hell of it, bassline doesn't do anything new, looping chorals... just kinda boring. There's definitely a vision here, but unintentional (sounding) discord and poor production don't help. NO

Fear not good sir, not only is your arrangement ONE THOUSAND THREE HUNDRED AND THIRTY-SEVEN, it is ONE THOUSAND THREE HUNDRED AND THIRTY-SEVEN to the point of making us all look so very not ONE THOUSAND THREE HUNDRED AND THIRTY-SEVEN in comparison. Therefore, by the power vested in me, I hereby submit to the ONE THOUSAND THREE HUNDRED AND THIRTY-SEVEN prowess of this piece, a ReMix that this un-ONE THOUSAND THREE HUNDRED AND THIRTY-SEVEN judge is insecure of passing; to do so would once and for all prove that the judges are, in fact, not ONE THOUSAND THREE HUNDRED AND THIRTY-SEVEN. No.

An intricate SMRPG piano piece. I'd always imagined the woe is Mallow theme could be arranged to great ends. In particular, there is no slouching on the pivotal ending; one of the most satisfying I've heard from a remix in quite some time. Well done. YES

The original a la speedcore drums and tempo. I'll pass, but thanks for reminding me of this kickass OST! NO

I don't think this is his best; it sticks to the original more than his other mixes do, and is the most repetitious to boot. I really like the use of a warbly synth as an anchor bass, and I dig the spastic drums. The electro-acoustic soundscape is standard GrayLightning, but is more of an addendum to the melody than a cohesive accompaniment. The mix dies off far too quickly, which is my indicator of wanting to hear more of the good stuff. I'm honestly borderline. I shall enshrine this OCREMIX mostly due to the wonderful nuances of sound detail and stylistic transplant within the confines of this arrangement. YES

So was his 'SwimmingInZombieGuts' it seems. Should have got the red flag as well.

How do two minutes of guitar strumming go by without anything happening? Movement without development. This is just extremely messy from start to finish with zero arrangement value. Guitar know-how does not a mix make. NO

The Underworld theme is easily a stellar example of a videogame song. Let's see what you've done with it. Interesting pad build-up; I feel like I'm in a planetarium. The plucked... thing panned right sounds awfully off-key alongside the appregiated harp taken straight from the original. Neat vibrato on the flute, but it dips into the lower register rather unpleasantly. These acoustic instruments sound very stiff and fake, making it difficult for me to suspend my disbelief and enjoy the arrangement. Unfortunately, the mix does not stray far from the original composition, except for key changes, bridge, and tempo. Not too bad of an effort; it's a hard to rearrange theme. However, the mix doesn't offer much more, musically or stylistically. NO

Sounds like you just took the original chords and auto-appregiated them. That'd at least explain the random lack of harmony between them and everything else. Besides that, Jesse said it right; even considering that this is a robot theme, the piano, strings, and harp sound horribly artificial and unnatural. Not good. I like the drums though, for what it's worth. NO

Impressive guitar work. More importantly, so is the concise arrangement. Those lead riffs are a little treble-heavy; not enough bass at play. There's some noticeable high-pitched interference at times, so it could just be the recording. Anyway, the real problem is the ass ending. This probably was a single take, but if the band can tack on something reasonable to end this, the effort would be appreciated. At any rate, this gets a YES

This is the way to do trance. Smooth development, captivating movement, appealing counterpoint, and well-articulated melody. Not too much going on in the way of drums, especially in the build-up, and the hi-hats are louder than they should be. They overpower the lead piano several times, which would have stood out more easily if it wasn't so damp. Other than that, this is good Flash. YES

Nice saloon sound! This would fit in Silver Diner's jukeboxes just fine, if its patrons weren't so busy playing 'In the Jungle' all the damn time. Unfortunately, the novelty wore off soon after I realized the original melody is transcribed nearly verbatim. Not exactly a rearrangement, especially when you've dealt with a song we all know by heart. I'd love to hear one with this concept. NO

Solid instrumentation and good choir rock interpretation of the original. I would YES this if it weren't for two major issues: - The arrangement, as acceptable as its spin on the source is, is limited to simple repetition of patterns. For two minutes the mix loops alternating progression. While the synthbass bridge midway in is decent, it only leads to the first half repeated. A little later the bridge itself repeats and the remix ends on a dull note. Rinse and repeat, ad nauseum. This is not good development and only wears out the positive. -The drums. Need work. Listening to hat-hat-kick, hat-hat-hat-kick over and over for the most part just hurts. Incorporating percussive variance to lend some semblance of acoustic authenticity is pretty much necessary here. The ethnic wood hit is a good touch; explore its uses. This has a lot of heart, but it's not quite done yet. A resubmission with the above noted will most certainly pass. NO

Submitters linking to the original track would be helpful when we're unfamiliar with it. Like ten seconds of silence starting off. Oh ok, volume needs to be turned up. This mix repeats in the same ways the original does and just drops off after a minute and 50 seconds. The length would be justifiable if greater expansion on the original's melody occurred; while there is a token transition and new backing chords, I feel that not enough is added to qualify this as a satisfactory rearrangement. As it is, this sounds like a simple saturday morning UPN ditty. Please develop this theme longer and resubmit. NO

My Final Fantasy. This brings back a few memories, like searching for videogame remixes on Napster back in 2000 and finding this one. Mel David's mix was the most widespread FFtrance for a long while; I thought it was neat at the time. But after nearly four years and the consequent growth of our community, I must say in retrospect... this is not good. It's just the prelude & co. over ill-fitting 4/4 beats plus voicefx and simplistic synths done repetitively. Nothing new happens until the 4 minute mark when a little added percussion kicks in, but by then it's more than worn out its welcome. This probably would've made it back when we had no standards for rearrangements, but it comes nowhere close to cutting it now. NO

VOTE PLZ

Not much else to say, so I'll just summarize: (1) Chromatics and organ bassline are repetitious (2) Percussion overpowers the music (3) Gated vocals come off as arbitrary and irritating (4) The entire mix is repetitive This feels long only because it feels boring. I would like to hear a rearrangement that I can enjoy listening to. NO