prophetik music

big, frenetic opening. saxes took a second to settle but then i got what they were doing. michelle's vocals are just the right style for this kind of goofy shuffle disco pop. it does sound a touch high at the end of the chorus for her (can't sleep! is pretty nasally and not well enunciated). the break at 0:46 is a good idea to give a bit of a break after a big chorus. the saxes coming into the next verse are a touch off in terms of timing...timing on a song like this is so tough since the tempo is fast enough to make the shuffle hard to hit. the chorus at 1:20 is big and exciting. the sax lines between the vocal lines are a bit pitchy but having them mirror the vocals in some places is a great idea. solo break at 1:45 is fun to hear. alto solo is a little rough and out of time, but i liked the idea of passing ideas between each part. the subsequent chill section at 2:15 is a great counterpoint to the solo and soli section. alto solo at 2:40 sounds a lot better than the earlier riffs, albeit still a touch pitchy. transition to an octave groove in the bass at 2:54 is an immediate head-bobber - i love it! and kicking it up another notch at 3:05 with the slick groove there is awesome. tenor solo at 3:34 sounds great - the sudden introduction of the heavier guitars is a little much but i get what you're going for. 4:01's return to the chorus is just what i was looking for there. it's pretty busy here and probably needed more focus on mixing to prevent the vocals from getting drowned there - the sustains and strings in the background are a little too forward when michelle's voice goes into the middle range. the track kind of fizzles after that - there's the tag and a little riff and it's done. would have loved to hear the ending come from the chorus instead of chugging out like it did. this is a really fun track! there's a ton of character in the entire arrangement. it's pretty long for this style of track but none of it is filler. nice work. YES

filtered chips to start. there's some subbass down there sliding around which sounds fun, and the initial hit at 0:45 is appropriately huge. this is a fun track to really crank up. 1:02 brings in the harpsichord/organ arp in the fore for a bit. 1:18's lead is doing some stuff that's influenced by the melodic material, but i'd say it's not particularly close to the original theme's melodic material (as admitted by the arranger in the submission email). there's also some weird panning/placement that's causing the sound to be more right-ear centric and it's confusing. once it gets jamming, it does its thing for a while until it just hard cuts as an ending. there's some soloing in there as well that's fun to hear. i think it's pretty hard to truly match the original to this track. there's essentially no melodic usage throughout - i heard the 1 b3 5 #4 riff a few times, but it's always blown through before doing other stuff. separately, the audio stage is really confusing - it's like the sounds are centered behind my right eye instead of in the middle of my head - and the ending is nonexistent to the point that i wonder if we got a bad wav. the sound of the track is dope though - there's tons of personalization in what's played, the tones of the synths sound great, and there's a great groove going through most of the track. adding more of the reference track's keys to this would be an insta-win, and fixing the ending would be a big help as well. i can't pass it as-is though as there's not enough source. NO edit 12/14: i missed that there was a revised version of this. i also straight-up missed that this was specifically focusing on the backing arpeggiated elements of the song, so that's on me. now that i catch the source and it has any ending at all, my main concern is mastering. i don't think it's enough to keep it back. YES

sfx intro. initial prologue presentation is really spot-on - excellent work. 0:31's ensemble sounds excellent as well, although the vocal parts have very bright siblants which stick out of the mix. 1:16's violin sounds beautiful, as does the female vocals that are heavily verbed at 1:27, there's a big transition into 1:38 that's much heavier. the guitar gets lost a bit under all those cymbals initially but the heaviness is still there. the melody from The Farthest Land is just great here, and the transition into Demise of the Ritual is appropriately creepy. there's some sfx going on here - sounds like storm sounds? - which make it pretty cluttered, but the addition of the guitar in the right ear helps balance it actually. the dropoff at 3:15 is so eerie. 3:30 switching to triple meter is inspired - what a great way to keep it feeling interesting and new this far into the track. there's a big hit and fall, which unfortunately doesn't fade entirely but has an artificial cut at 3:50. the ending elements sound to my ear to be pretty close to End of the Battle, and the vocals here are a bit loud. the violin part here is much more treble heavy and has a wrong note in the ascending line, which is really disappointing after the rest of the track is so well balanced (guessing whatever EQing is used in the ensemble parts wasn't removed for this part). the last note fades quickly. this is certainly not without flaws, but is a really interesting and engaging arrangement of several elements from one of the best soundtracks of the middle aughts. i think i'd have preferred the vocals to often be mixed quieter, some of the transitions to have more patience taken with them, and some more attention to detail between the big parts (cluttered elements, sfx usage) and the quieter parts (EQing, balance). these are more nitpicks than anything though, and i really enjoyed the experience. excellent work. YES

there is little when it comes to melody in this track, so i'll be looking for other recognizable elements in the remix - stuff like the consistent and driving beat, the bassline, and the notes of the sustained vocal lines. opening section is very quiet relatively speaking. the pulsing beat is immediately recognizable, but the head-heavy snare is really not fitting the beat. the bass is doing the two-beat pattern that was throughout the original. 0:31 brings in an arpeggiated chordal pattern that i couldn't identify in the original, but adding some chord elements to this track is not a bad idea given the lack of actual harmonic development. the texture quickly shifts to H36T standard "layer a vocal patch on top" stuff while doing the same thing underneath for a bit, and then eventually hits a break at about 2:00. 2:14's break is not particularly reminiscent of either breaks in the original, so i'm chalking this up to original writing vs. being an arrangement of those two elements of the reference track. we get the beat back at 2:44, but again this isn't particularly reminiscent of any elements in the original, and the strongest elements i can hear (the voice and the beat) are both new writing which doesn't help. 3:44 feels like a build but is more of a transition element to a lower-energy section. at this point we're 4 minutes in and i've heard very little that i can truly tie to the source in a tangible way (part of that is the source's fault). there's a significant build to the largest section of the track at 4:43, and it's back to the quieter beat. it noodles for another two minutes doing the same thing as the previous four plus, and then it's done. barring someone else giving me a source breakdown, i don't see any way this is even close to 50% source, let alone 33%.the original is light on leitmotifs, and what little there is there isn't really represented here. i'm not comfortable saying a two-beat bass pattern and a reversed cymbal is enough to map a track to the original. beyond that, it's very quiet - where is the compression? something this consistent in volume shouldn't be so quiet for so long - and some of the instrument choices seem like default choices rather than crafted for the song, like the head-heavy snare tone. i can't pass this as-is. there needs to be far more clear correlation to the original. NO

i am admittedly surprised that this is using Cosmo Canyon and not Launching a Dream Into Space. opens with strings, flute, and ethnic percussion. 0:38 starts the more melodic material, and opens with the iconic main theme riff of FF7 - oh wait, it's the Unknown Lands theme (i see what you did there!). shea does a gorgeous job there on the violin. the bamboo percussion at 1:27 sound great behind the overall orchestral tone, although i'll complain that the plectral instrument under the orchestra is a lot louder than the orchestral sound which lessens some of the impact of the orchestral ensemble. there's a beautiful dovetail of the CC theme into this around 1:51, and then there's a bit shift at 2:19 as the acid hits. much more aggressive use of rhythm-synced synths in this section - i love hearing the CC's arpeggio in those tight arps you have going on. the high fades pretty quick at 3:18 and we get a much more standard playback of the CC theme with a sudden transition to the soaring elements of the second half of Unknown Lands. the Horner influence is nowhere more obvious than at 3:57 with that chord shift and the vocals. the fadeout at the end is abrupt and i wouldn't mind more of a sustained tail, given the fairly quick ending shift already. this is excellent, demonstrating a broad scope of approach and a ton of flexibility and imagination from the creative side. YES

0:16 is kind of where it starts. the drums are louder than most of what else is going on. i agree that the bass is inaudible. i also agree that the track is the same thing repeated over and over without a ton of adaptation, humanization, or arrangement by the remixer. the backing pad changes chords too slowly to really account for the chord changes, and so you get a lot of conflicting notes. the track doesn't really have much in the way of a shape to it or any dynamics. it isn't all bad, of course - the drums overall sound good (they're the only thing i can hear clearly from start to finish), and when the B theme comes in, that airy lead is a nice pick. my suggestion now is to strip this back to the bolts beyond that and really focus on what YOU want to say with your remix. this is currently Bowser Road with New Instruments. that's not a remix - there needs to be transformative arrangement.by you. so do something different from the original, and make it really yours. and use the workshop, since this is not particularly close now and needs a lot of changes to really be something that approaches our bar. NO

that opening bell is extremely evocative even before it gets reversed. i know that OCR views Zelda games as The Sacred Texts (and the judges love them some BOTW especially), so it's always fun to see the reactions to remixes. such strong emotions tied to these tracks is why we all started remixing, after all. michael's approach here is a particularly patient and expansive one, especially suited to the project that he created it for. the airy, emotive motivic work alongside the aleatoric bells and restrained ostinado is exceptionally well done. the sfx of birds and other nature sounds alongside the windiness of many of the synths is a really neat combination, and the sweeping, all-embracing textures do a vivid job conveying endless space, timelessness, and a weighty, fulfilling sensation of "finally, we're here". as expected - excellent work. YES

we need more submission memes! and this meme is very correct, they're super similar enough that i'm having trouble keeping track of which is which. the little section in the middle of the initial presentation of cyrus that switches to the V is just delightful. what great originals. initial presentation is cyrus in the flute. clarinet tone is a bit reedy and pitchy in the lower register - the higher register though is a really nice singing tone. there's a few embouchure-related pitch bends as you jump around. the dovetail into valse di fantastica is stellar, i missed it the first time through - such a great combo. the key doesn't do the clarinet any favors. my only complaints here are around the shape of the piece. the piano pretty much just is on autopilot throughout, and any dynamic variation would be driven by the keys here...so there isn't any. having some push-pull both to the tempo (difficult assuming you're not in the same place for the recording) and the dynamics (easy even if you're remote) would help a ton with conveying the whimsy that this piece feels like it has. similarly, there's a ton of little flourishes and added elements in the originals that are not conveyed in the piano part (again, because it's on a strict pattern of left hand downbeat -> chord chord in the right throughout), and that's a disappointing loss of compositional fidelity as a result simply because those flourishes would have been really nice next to the winds. that said, the performances are great and the arrangement is a perfectly serviceable reduction of the orchestral parts. i certainly wish there was more but the flute especially carries the day here. YES

the major differences between the Distant Worlds arrangement and the original come from a few passing chords in the first half, and then from 2:22 onward there's a lot more expansive content around the ostinado - instead of it being an arpeggiated left hand, there's a running pattern that starts in the violins while the celli have the melody and progresses throughout the orchestra after that. the melodic content, song structure, and most of the countermelodies actually are original from what i can hear. the major differences in the original to the piano collections version are much more minimal, primarily focusing around highlighting the beautiful dissonances between the running left hand and the direct harmony part to the melodic content, and also highlighting the performer's artistry and skill (there's quite a few flourishes added). aki kuroda's performances on this album are imo among the best in the piano collections series, and the arrangements for X and XIII are among the most virtuosic as well - fitting, since she's primarily a classical performer. i think this arrangement made it onto the X remaster soundtrack as well, actually. onto the actual track. the opening is note for note with the piano collections entry (i always loved the dissonance in the left hand at 0:12), albeit slower which imo reduces the impact of some of the dissonance a bit. 0:33 is where the melodic content starts. this to my ears is also pretty close to the PC version, maybe adding a bit of complexity to the left hand. the rolled chord at 0:56 is deliciously long, what a great change. the first big change i hear is at 1:03, which instead of going into the second half of the Z theme goes back to the beginning and starts over with a more grounded left hand bass. left hand here is a little loud, especially given that it's mostly doing perfect intervals. i again really appreciate the patience on the rolled chord at 1:31. we do finally get the last part of the main melody at 1:43, and this is again very patient with the approach. it sounds to my ear to be roughly the same with what the PC version has, just much quieter. 2:26's entrance of the Distant Worlds ostinado in the left hand is a clear adaptation of that version, right down to passing it into the right hand and carrying the melody in the middle/low voices. we do finally get the big dynamic section we've waited the entire time for, although again the left hand is very loud and we don't sustain on the high point (similar to the DW arrangement). 3:53's movement is also from the DW arrangement, and the subsequent flourish to the top note is from the PC arrangement I think. there's some call and response for the last few notes of the original, and a new chord resolution at the end. i'm quite familiar with the piano collections version, as i've been listening to the entire series of piano collection albums for years. separately, To Zanarkand is possibly my favorite piece of game music ever and i've done three arrangements of it for classical instrumentation, so i'm intimately familiar with the piece and especially the countermelodic elements of it. i am not as familiar with the DW arrangement, but outside the aforementioned ostinado in the middle, the work is essentially the same with no new elements being introduced outside of some work in the winds. all that said: i do not believe this arrangement stands far enough from either existing arrangement to be able to be considered for this site. the performance is truly superb - the artistry just oozes out from all of the space you give the work to breathe - but there's just too much here that's from the original arrangers and not enough new arrangement from josh winiberg. it's still a beautiful rendition, just doesn't fit our criteria for arrangement. NO =(

file fails to download correctly for whatever reason. i'm doing my analysis within the drive audio player as a result. intro is with piano, bass, and kit. the piano's got some delay on it, but the kit is ultra dry and the bass is essentially fundamental content only. drums are playing basic patterns and really don't sound in the same space as the piano, and the cymbals on the kit don't sound like they're in the space of either as well. the piano is mostly functioning in an exploratory sense around the melodic line - there's certainly expansion, but it usually is staying pretty close to the original melodic line or the arpeggiated perfect fifth that we hear at the beginning of the original. there doesn't appear to be a clear direction to where the piano's going, and the drums are so much louder than everything else that it's honestly hard to hear what it's playing most of the time anyways. the file breaks at around 2:03, but i'm comfortable rendering my thoughts on just that part as i don't see this changing. overall, this needs more workshopping. first of all, there's no real dynamic direction to the work. the original starts out smaller and swells through several sections. this track doesn't change at all in terms of instrumentation or dynamics in the first two minutes i heard. there's also nothing beyond those initial three instruments. you can absolutely make a small trio work, but it requires expansive, interesting work in the piano and bass, and some more complexity in the rhythm instrument. adding some pads, a few leads, some other keyboards, or even a bass with tone that we can hear instead of it just being in the sub would add a lot to the work. beyond that, getting all the instruments in the same room from an auditory standpoint would help a lot. all three instruments sound very different and are in very different spaces in terms of reverb, EQing, and volume. balancing those out - ie. improving the mixing - would make a huge improvement. right now this needs more work. NO

initial chord strums are immediately recognizable despite being detuned. there's some extra effecting that comes in at 0:44, but the first big shift is at 1:05 where the original 12-string guitar arpeggios come in. this is, i think, a direct adaptation of what the original plays. it sounds like it's the same synth throughout, albeit with some interesting LFO, EQ, and effects applied. it goes through the various sections of the original and then just kinda ends. it would be difficult to really A:B this to confirm, but i suspect that this is essentially the guitar part from the original dumped into a synth, with most of the changes that were made falling into the category of modifying the synth timbre. it is not pleasant to listen to - it isn't until the second half that we really get any variety of synth tone regularly, and what we do get is difficult to follow since the original does not have a consistent melody throughout to pin the remix to. much of the original's novelty lies in the tone of the guitar, the reverb and delay on the guitar, and the mood it sets. the synth choices and realization shown here do not carry that over, and so we're left with a bunch of disparate sections with no attempt to knit them together. i believe this arrangement is far too close to the original to really have any chance of passing as-is. separately, while eventually there's more variety in synth timbre, there's not for several minutes at the beginning. this needs some significant rework as a result. NO edit 3/5: MW's comments about the second half being farther out necessitated a re-listen. i do hear what he's saying around the second half, but like kris i lost the plot halfway through and struggled to balance the original against what was going on in the remix. beyond that, the detuning made me sick to my stomach so i couldn't listen for very long. if he's saying that there's enough source, then i'll believe him. i do agree with larry that ultimately this is not a pleasant track to listen to - there are muddy sections, and there's a lot of very abrasive elements that seem to be there just for variety vs. being intentional. i don't think that's a standards violation though. this is a functional piece with clear design behind what's going on, even if i will never listen to it again. YES

big synthy opening before the guitar came in. drums are both loud and very arena. 0:40 is the B melodic content, complete with significant scoops and MASSIVE 80's SNARES. the full drumbeat comes in at 1:12 and i do feel it's a little loud there, and i also don't hear much in the way of bass content outside the kick. the backing synths sound great though, what i can hear of them. 2:32 is a bit of a break right on cue, more in energy and in the backing parts than elsewhere. 3:20 feels like the start of the end with the recap there, but there's still quite a bit of music left. 4:08's arp coming back in is nicely reminiscent of the opening and the original. the song noodles through some soloing (and some bongos?) for another 30s and then fades out. this is a slam dunk, as expected. the style is perfect for the original and it's well-handled. nice work. YES

intro sounds like there's some randomness to the initial couple of runs until it settles down after a bit, and then it's impressively technical. the main melody comes in at 0:44, and there's a ton of personality in how it's being articulated and played which is great. some really fast harmonized runs in time are again impressive. 1:35's departure from tonality was a neat idea and well-executed. 1:58's the first really significant section that isn't close adaptation or original material, and the half-time approach is a great idea. there's a lot of complex chord work in here that's honestly pretty impressive. the section from 3:15 to 3:35 is a little too navel-gazing for me, but it quickly gets out of its feels and moves into the melodic content again. there's some exciting ending material (nice work on the accelerando into the ending...not easy to do with recorded elements like this to be in time so well!) and it's done. this is real solid! excellent work. ensembles with the same instrument can feel very dense and samey but this does a nice job of exploring the entire instrument's range. YES

when the drums come in on this one, the hats are heavily swung (practically in triplet but not quite) while the arp is actually doing triplets and rest of the drums are switching between standard eighths and some semblance of swing. this is intensely distracting to me and is almost enough for me to reject it by itself. it feels like a wobbly dance. i can barely focus on the rest of the song. it literally took five or six listens to get past that and listen to the melodic content. there's a break from the drums at 0:59, and the piano does some expansion of the B theme. the eventual tempo-sync'd synths that come in are really nice, perfect timbres. the drums are back in at 1:47 and the hats are fixed although still strangely loud in the mix. there's some fun expansion and playing with time in here. this transitions suddenly into a much faster tempo section that's more ensemble based, and features some slick piano solo chops. the bridge at 3:15 is great and does a nice job connecting these two sections together. there's an extended tension-building section, and then we're suddenly back to the intro's progression - this is kind of awkward here. 4:14 to the end is a neat little groove on the A section, and then it just ends. this is a pretty awesome adaptation overall of the snowball theme. it is not perfect - the ending is nonexistent, there's some awkward transition points, and the section from 0:15 through 0:57 is rough enough to make me just not listen - but there is some really joyous soloing and exciting realization going on in several other sections. if the hats were simplified in that first section, i think i'd be good at that point, and i do think that's a quick fix to just remove some ghost notes. i'll call this conditional based on that. YES CONDITIONAL

this waveform looks like it belongs in a pot of beer in the parking lot of Lambeau Field before a Packers game. initial synths are vanilla but immediately recognizable as quoting the theme of the original. the melody comes in at 0:26 with a particularly percussive synth, and there's a ton of verb going on through this. there's a shift at 0:44 to the B theme, and the melodic content comes in soon after. this also is drenched in verb - the backing synths are pretty loud throughout. once this B theme is done, it's been about 1:45 and there's not really much beyond adapting it to the style - little that i can hear that's new. the track goes through the A theme again in a row and then the B theme again in a row - i don't hear anything new, so this is essentially just repeating the first 1:45 or so. at 3:20 it starts the A theme again and i still don't hear anything different. so it sounds like this is just repeating the same content over and over again with no changes to the underlying work. there's a fadeout and it's done. this has way too much repetition to pass as-is. less than half the song is the first iteration of the (imo not arranged enough) loop. separately, the synths are fairly vanilla throughout, and there's no lfo on the leads or anything to keep it interesting. additionally, the drums are pretty vanilla in what they're playing too. lastly, i found the mastering to be way blown out - it's super noisy and the reverb tails are really loud, so it's tons of stuff in your face with no room to breathe. there's definitely some points where it's clipping as well. i think this needs some time in the cooker. you've got a few neat ideas but this needs significant expansion of the arrangement, more creativity on the synthesis side, and better mixing and mastering. NO

initial piano and pads hit have a really neat lower-fi vibe, and the drums, bass, and eventual vox reinforce that. nat's voice is perfect for something like this. there's some really nice swells in here like at 1:10 where the flow just carries you along. the song grooves through a few up and down sections from a dynamic perspective, and finally hits a real break at about 1:57 for a few seconds where the beat drops. the guitar in the subsequent section sounds great, and when it's layered with nat's voice both sound even better. the end isn't really prepped but it does a good job of settling down, and it's done. this is great. i really like the mixing approach actually, i think that the muzzy softness of it is calming. what a great track. YES

the initial transition from block chords to the melodic content was really nice. there's some nice ensemble elements right off the bat too. the press rolls in the snare at 0:35 were a nice touch. a few runs felt a little mechanical (like at 0:45), but it's nice piano work. there's some flute work at 1:15 that's really excellent. it's not clear to me if it's improv or written to sound like it, but it's nice either way. some more ensemble work at 1:51 - excellent dynamic work in this section. 2:35 is a bit of a shift, but continues to use the melodic material in new ways, and the ensemble work is blended really well here. there's a crescendo that you don't really realize is happening until you're there, and then it's done. this is a lovely little piece. great ensemble work and keys especially. nice job. YES

filtro intro is great. sounds so good. and the initial hit sounds great too. i believe, if i'm not mistaken, that the synth work at 0:43 is the terra theme in a diminished chord instead of minor, with the last part inverted. it's essentially the same elements that show up at 1:12, but with a vertically inverted element. the shift at 1:38 is great, tons of extra energy from the 16th patterns here. the section at 2:17 is cleverly done. there's a bit of a break at 2:32 and it's back into a new beat at 2:35 for a bit before some sfx bring us through to a big break section with some rich pads and synced leads at 3:23. 4:23 brings us to the last major section, mostly Terra-heavy, and then it's done with some kicks. i wouldn't mind a final hit given that this isn't necessarily a club version that's going to be mixed in, but what's here is fine. this is excellent. i have no concerns about source usage. superb job. YES

i love wind ensembles, so i'm excited for this one. right off the bat, i noticed the clarinet is consistently sharp at 0:13, and at least a little closed in timbre (my teacher always used to talk about visualizing a golf ball in your throat to open up your tone). there is also not a lot of overlap in the articulations - the clarinet is more legato, the bassoon doesn't use a lot of clear articulations at all (outside a few times where it's quite stuffy and choppy unintentionally), whereas the tenor's articulations are quite choppy. future arrangements should probably be more focused on correlating articulations (likely right on the page). lucas's is indeed pretty honky throughout, so i'm going to actively not talk about that so i don't take up the entire writeup. there's some lovely overlapping lines in the writing - for example 1:12 into the flute and clarinet. the shift in tone at 2:04 is also well-timed and nicely done, giving a clean break from some of the more active elements before this. the entrance at 2:51 is particularly rough, but the subsequent resolution is nice to hear if still not quite in tune. one thing i'd actively consider going forward since it's impossible to do what you'd normally do with an in-person ensemble and work on intonation on each chord - consider using pitch-adjusting software to fix intonation on sustains especially. keep in mind not every interval lands directly on 0 ct each time (major thirds are -13c, perfect 5ths are +5c, b7s are -24c, etc), but i think that would help a lot of the intonation issues i'm seeing. it's so hard to catch where everyone is in a chord on their own so some artificial assistance may be required. winds are particularly suited to pitch correction since they're "push buttons, receive bacon" for the most part when it comes to pitch - they hit a note and stay there outside of vibrato. this is a fun little work that's got some really nice interplay between the parts. i think that the tenor performance unfortunately pulls it down, but overall there's some really neat demonstrative writing in this. nice job. YES

agree with MW that we need a render that doesn't start with a loop point. intro is immediately recognizable despite the extra layering. i particularly liked the way the harmonies at 0:36 sounded. 0:55's tonal shift is really fun (tbh sounded like something from Shang-Chi). the drums got a bit stale after a few repetitions, but they shift up at 1:30 and again at 1:50 so that's a good choice. there's a few funky notes in between the bass and backing arp at 2:03 that i think is related to sustain overlaps. there's a shift again at 2:24, and it's a nice break for a bit. we get a recap of the tuvan section with some new synths under it, and then the descending theme in the flute. it's nice that these are similar but clearly not the same as earlier sections. at about 3:45 the track starts to wind down, and the last 30 seconds or so are some really nice ambience. this is essentially a rubber stamp. i loved it, great job! YES

quiet master. interesting drums to start. keys in at 0:15 and they don't sound very realistic. agree with chimpa that there are a lot of conflicting notes throughout, mostly in the backing pad which sounds like it has extra harmonics. i don't know what the pad is doing throughout actually, and most of the time it sounds wrong. the bass has some questionable stuff too and a ton of harmonics which make it tough to hear what fundamental pitch it's playing. this pretty much just does the same thing as the first 1:30 or so over and over. i think the initial drum groove is neat, and the variety of synths you use is fun, but overall there isn't much connected from section to section. the overall discordant sound palette is also a big problem and would need to be corrected. it also needs an ending. NO

track starts with some vocaloid elements over an orchestral backing part. i should admit i really didn't like this combo and it was an immediate turn-off for me. there's some kick and synths that come in soon after this and the track drives forward with a much more energetic edm feel. the melodic line comes in at 0:46 and it's quite loud compared to what's going on behind it, but overall has a Final Countdown kind of feel through here. the strings that get layered in eventually are really nice too. there's a break at 1:24 for a bit, and then the vocaloid parts come back in at 1:30. they sound much less out of place among the synthy elements of this section vs. the first part. there's a shift in the beat pattern at 1:57, which is a nice change, and the lead here is doing some fun stuff and has some nice vibrato on it. it's a touch shrill but i like how it cuts through. 2:28 brings back the first lead for some call and response work, and does some noodling around the melodic content. the glide on that first lead is nice and it shows here well. there's a significant climax at 3:48 and it drops off for a final (extended) build. the additional use of strings through this last section was nice and left me wishing there were more orchestral elements earlier in the work. 4:52 is the last big gasp (i wish this hit was a touch longer!), and then we just get a short fadeout of one of the backing synths. my personal feelings about the use of the synth voice aside, this is a fun track with a lot of energy. there's a great natural shape to the work, and a preponderance of source so no concerns there. part of me wished for a punchier mastering on the overall track to really get into the kick groove, but the way it is now really works nicely to keep it moving. nice work. YES

nearly 3dba of headroom. kick drum right off the bat sounds really weird - essentially no drum sound, just the beater without any bass. there's some sfx and the descending arpeggio in the background, and it does this for over a minute. there's some guitar that comes in at 1:05, and it doesn't appear to have any verb or room tone on it initially as compared to the backing parts. it's also much louder relative to what's in the background. this continues in the same slow, intense method until 2:05 or so. at 2:09 it switches to double time and is primarily a rhythm guitar pattern with some other stuff underneath, but the guitar crushes everything in terms of volume. there's some piano doing stuff that sounds reminiscent of the original but it's honestly hard to hear. this continues until 2:48 when it's back to being the original tempo. there's some guitar noodles above some synthy noodles, until we get a riding pattern from the guitar again at 3:18. this builds to a silence break before a brickwall transition at 3:55. the section at 3:55 continues to be all guitar. there's still no bass instrument let alone any bass tone in the kick, so it's still a bit top-heavy. it chugs through until it drops to half-time again at 4:28. it stays in this lower-energy groove until the track's end at 5:32. there's no real resolution there either, it just kind of ends. i think this track needs quite a bit of work still. i think the underlying concept - a patient, slow yet intense, expansive approach to the motivic elements of the original using heavier guitars - is definitely something that could work! there's some cool ideas here. however it's balanced very poorly throughout and there is a lot of noodling instead of intentional motivic development, so it's hard to really hear the original consistently. fixing the mastering of the individual instruments and adding a bass presence would also help ground the chords you're using which will subsequently help root what's going on in the original. NO edit 11/9: my vote will not change.

as with the other submissions i've heard from you, this is a fun idea! flute performance is appropriately charismatic in articulation and performance. i agree it's hard to hear and needs some compression on that channel specifically to control the natural variances in range vs. projection. the dulcimer combines well with the bass choice as well. 1:59 is a half-diminished vii7/V chord (flute and bass both playing a B#, melody plays F# G# A B under it), so it's technically not wrong. i think it's going to sound funky no matter what without the D# to flesh out the chord, so if you're not willing to do something there to add that into your melody line, it might not really work. as with a few of your other arrangements, this arrangement quickly runs out of legs. finding ways to extend your tracks beyond the "this is a cool idea but it's real short" stage would be great from a compositional technique standpoint for you. the repeating drums and the main instrument (in this case, dulcimer) doing pretty much the same thing for the whole song with no overarching dynamic shape is something that's come up before, and working through expanding that would be a huge benefit for future compositions. i agree with the other judges that the flute's range makes it hard to hear a lot, that there's some funky notes that don't sound right as-is, and that it doesn't quite have enough material and expansion of the themes to make this good yet. Some revisions would do a lot to improve the track. NO

twenty-six source tunes...!! starts with a pretty light beat with some funkish chords, and picks up quick at 0:15. the lead guitar sounds great as it filters in, especially layered with the backing synth line. the arpeggio at 0:47 is such a great idea with that clanky set of hats behind it - i love the sound. 1:22 got some snippets getting passed around and eventually lines up at 1:41 with the full band sound again. there's a wrong note in the guitar at 1:51 - wonder if that can be fixed in post - and then the texture thins out for a break for a bit. 2:13 the guitar comes back in, and the texture shifts to more sustains as opposed to the more angular opening sections. the fast arp comes back, this time with some automated panning, and it noodles through some more chord shifts until the whoile group is back in at 3:12. there continue to be a variety of effects on the iconic arp, until it drops and we get some more melodic playing on the guitar at 3:45. this plays through a bit and then it's done. the breadth of approach here is superb. there's a ton going on, as is expected, but the different timbres used and the variety of scope within the view of the work as a whole is great. excellent job. YES