prophetik music   Judges ⚖️

really old school original here, been ages since i've heard it. opens with some wide, very forward saws. there's a lot of verb and this is really blown out so the lead instrument has an overpoweringly present sound that obliterates anything behind it. there isn't any arrangement on this opening section to my ears that isn't in the original - i think it's even in the same tempo. there's a repeat of the main chorus section with the 'kick' sfx playing faster, but aside from articulating it on sixteenths, there's no change again. so again, there's no arrangement here unfortunately. and then the loop cuts as it's about to loop back to the middle somewhere - so no ending. unfortunately this doesn't fulfill what we're looking for in terms of arrangement. i'd encourage you to take a look at our submission standards, notably section 4, and utilize the workshop forums and discord to get some guidance on how to work towards a more complete arrangement that'd fit what we're looking for on the site. NO

i really prefer the normal too-many-words writeup from lucas =P opens with some spanish-style acoustic guitar and shakers, and gets to the melodic material at 0:40 alongside the addition of hand percussion and rhythm guitar. the backing elements take a few seconds to get settled in and are a bit shaky for the first ~30s, but they lock in around when the harmonized melodic elements start around 1:05. the rhythm guitars are also heavily panned which is more noticeable on headphones, but overall the band sound here is fun. the strings that come in around 1:32 are really nice and subtle, and add a surprising amount of warmth. 1:57's a recap of the Velvet Room theme section from the original, and i like the tremolos on the sustains as a method to convey the held notes. there's a nice break around the 2:48 with just the earlier strings (they sound a touch behind the beat when they're isolated like this), and the following chorus functions well as a build (the marcato strings help here) into the solo section at 3:40. sounds like dueling solos to me which is something i have always enjoyed. there's one more recap of the Velvet Room theme, and a sustained chord for the end, and it's done. this is a fun ride! the simplicity of the instrumentation really shines out here and allows the performances to be the main focus. i thought the rhythm guitar was slightly ahead of the beat throughout, which made slower attacks in the strings and the groove of the drums to sound a bit weird sometimes, but overall this is a really enjoyable take. i particularly liked the way you were able to use several different sections from an original that is pretty long and has a lot of variance between sections. nice work. YES

in my last vote, i called out the need for EQing and volumization to avoid clipping, but loved the arrangement. i love the delicate opening guitar work, with so much variety in how the instrument's being used. the fluttery, glassy burbles around the 1:00 mark are really nice. there's a bit of a break at 1:23, and we get a new feel coming out of that when the melody comes back at 1:35. the vocals are just light and distant enough to really add flavor without being able to focus on them - the spacing is really nice. there's an outro that's pretty rhythmic, and it's done. this is now a lay-up in my opinion. mix is far better, approach is simple but beautiful, and the vibe is great. nice job! YES

opens with the descending arp of the original in a funky 80s-feel synth. beat comes in at 0:15, and i can definitely hear where you're trying to go with this. the piano that comes in at 0:27 is painfully square and robotic unfortunately, and the sample isn't great either. the offbeat pops fit the concept well though. melody comes in at 0:39, and there's some nice panning on it to help it feel more organic in the way it moves. the backing is very static until 1:24 when there's a short break - i'd have liked to hear more to mix it up, especially given that there's only a few instruments playing and not much to keep it unique. the chorus uses a new beat which is nice, but the piano especially is starting to really grate as it's doing the same thing most of the time and it's tiresome to listen to. the piano solo at 2:13 is nice. there's a percussive element in the left ear that is notably far away from anything else in that side and it sticks out a lot. there's another chorus, and what initially feels like an ending until it's made more obvious that it's a transition into more of a shuffle. 4:02 brings in a lot of other elements that don't really get explored much. there's some distance put into the overall tone, and then a single chord finishes the song off. it really seems like you approached this with a goal of simplicity and a patient approach, and i think that's a cool idea for this. i really think this is too stripped back, and separately what's here isn't used to full potential. i think that adding even a single countermelodic element would add a lot to the work overall, and separately (and more importantly) there's so little personalization or velocitization applied to anything outside of the synth blats throughout. the block chords in the piano for example don't change dynamics or approach ever throughout, and the lead instruments also do not have clear examples of velocitization outside of one specific color note in the piano solo. along those lines, each major section has a clear sound that's established in the first bar which doesn't change throughout that entire section. it's too repetitive and it becomes very obvious very quick. i think there's too much repetition throughout, and not enough personalization especially to the backing parts. this needs another pass. NO

took a second to grok what was going on, but there's some really fun stuff going on in that intro. the beat is really fun too, i liked the detuned hat drop effect. lead is unfortunately pretty basic - even a little lfo over time to the sustain tone would have helped. i like the backing blurbs more. there's a break at 0:56 for a bit, and we get some gliding stuff as a neat palate cleanser for a short while before the synth/eguitar comes in at 1:24 as the lead for a short solo. there's a recap of the melodic material before a much more intense B section at 1:51. i really liked the idea here and wish it was more involved. one lil jon sample later, we're in a riding pattern that fades out to end it. i wouldn't have minded the bass there being a touch quieter. this is a neat idea! i think the leads are really boring but i love the concept beyond that. i think this would have been a favorite of a lot of folks in, like 2004-2006. i think this is pretty borderline myself, but probably would lean on the side of good enough due to the fun arrangement and really interesting beat work. i can definitely see the leads pulling down for other Js though and would focus on that if this doesn't make it. YES

really neat original. that short synth tone is really unique. opens with some bells and ambient synths. it doesn't sound like most of the things being played are the original, but rather following a similar structure. the beat comes in at 0:28, and the strings that eventually come in also are outlining a descending pattern that isn't the same notes or particularly close to the original. same with the eventual synth arp. beat drops around 1:22 for a bit, but comes back unchanged. there's a recap of what just happened, and the opening bells come in too, but still no source. we get something that's again reminiscent of the original at 2:03, but all that includes is movement from the 5 to the b6 and b7 - none of the 5 b6 4 5 pattern that permeates the original, and also none of the little 7-8 lick that stands out in the original as well. we get another break at 2:44 with some choral elements, but the same taiko and synth elements in the background are still there. we do get some more unique strings after this when the same beat comes back in again, but nothing from the original. there's a fun stutter effect in the strings near the end, and then it's done with the arps fading out (over a very long time, this probably should be shortened by half if not more). unfortunately this doesn't really appear to be a remix of the Cradle Under the Star theme, but rather something inspired by it or reminiscent of it. there's no actual original material that i can hear in the track you've submitted. so that's a dealbreaker right there. separately, it's really obvious in here where you copy/paste each individual element's block of material - the synth does the same thing every time it shows up, the beat is the same, the taiko element is the same, etc. even the fake scream transition sfx is used repeatedly. that much repetition becomes really noticeable really quickly when you listen to something more than once. spending the extra time to make each entrance of an instrument unique is absolutely worth it. if this was a complete arrangement of the original, i'd probably still reject it due to how muddy and overly dense the representation is, and how much repetition is used. i think that the original's neat and there's definitely legs for this style of arrangement. trimming the fat and making it more clearly related to the original will definitely help craft a better overall product. NO

i YES'd this before while commenting on the samples not being 100% across the board. i don't need to do as much of a write-up this time around as most of my positive comments stay the same. 1:57's fast movement in the low instruments is still a little sluggish (but that isn't changing without some serious cash in the samples), and the arrangement is still dynamic and exciting to listen to. part 6 (the half-time melody movement in the bass instruments) is my favorite part. this is still a clear pass for me. YES

the synth riff is immediately recognizable. i also like the big bass and the fun 90s synth guitar near the end. the arrangement itself is definitely nowhere near developed enough for us, unfortunately, although i like the changes you've added in the second half. an easy and quick way to expand the arrangement would be to have some chordal movement right away - going from the Fm to, say, a Db chord within the opening 30 seconds, then to a Bb or Eb would help move the progression along a lot and add a surprising amount of breadth to what you've got here. i actually don't think you need melodic material, although that's another easy way to add uniqueness to an arrangement - i think that just varying the chord progression (or, y'know, having one at all) earlier in the piece would be enough. that'd lead naturally into breaks and builds as well, and some level of added dynamics would also really help the track not feel same-y throughout. kick sounds a touch heavy next to the bass, and imo layering the bass with a less noisy version with more fundamental would help give it a bit of punch that it doesn't have. some window dressing and this is probably good enough for us. just needs more body to the arrangement and you'll be there. NO

opens with some vocals over guitars. the guitar parts sound really nuanced and nice here, and the vocals sound pretty indie. there's a huge build into 0:46, and i love the pause on the chord that is used for this. band tone is great and in your face, especially the kick beater which i really like. bass guitar tone is lost a little. the characteristic CT funk sound starts at 1:05, and there's some fun backing elements here to keep it fresh. lead guitar at 1:36 sounds fantastic. the panned rhythm elements in this section are IMO too panned and are distractingly wide, but i like what they're doing. there's a big break at 2:03 with some nice percussive elements and little blurbs in the instrumentation. the vocals here form a nice pad to everything else. another big build into 2:37, and i again like how driving and heavy the kick especially is here. 3:02's a hair-raiser, and the immediately following section is fantastic - that first chord is excellent. layering in the synth lead from earlier with the last piece of the melodic content as part of a harmonized end line is great. there's a final chord and it's done. what a ride! the opening was a little worrisome given the vox sounding pretty meh, but this takes off and never looks back. i really enjoy the overall shape of the piece and the highs are just perfect. excellent work. YES

my main concern with the last version was the timing across the board. opening faster runs at 0:12 still rush a bit, but it's not bad and makes it clear that it's live, so it isn't as big as deal as some elements last time around. the faster clapping section around 1:06 really sounds great - it's timed just right to feel like a busker or street performer. 1:27 is oodles better than last time around, and the solo section sounds great. the octave section at the end is a great ending to the track. loads better this time around, very easy vote. nice work! YES

this song again has over a minute of silence after it, similar to your Song of Storm submission. please trim the silence off of the end of your tracks before submission. opens with the original's arpeggio in the piano to open, with a slower overall tempo. 0:14 brings in the melodic line in the cello. there's a few other elements brought in at 0:28 and it gets pretty overwhelmingly loud for a bit. the piano break after is straight from the original and doesn't sound modified, and then we get a full band sound at 1:15. there's some fun elements here - the electric guitar's tone is great, and i like the downtempo feel in the bass. none of the instruments sound particularly real or balanced as everything's just layered in, but the idea is fun. the melody drops and the arpeggio is in the guitar for a bit before a sudden stop, and it's done. from an arrangement perspective, there's not a lot here that isn't in the original. i like the band feel that comes in at 1:15, but there's no new countermelodic elements, no personalization or chord changes - nothing that is Hupusu, just stuff that is Alexander Brandon but in new instrumentation. so that'd need to change before this could be considered. separately, the instruments are not particularly good - there are way more free options out there that'd really improve this, including string and piano soundfonts and VSTs - and the mix is dense because everything's just layered in with no effecting or compression or EQing. so there's a lot to work on here! but i think that the feel you get at 1:15 is great, and a good example that you know what you want to get to and it's just a matter of learning the steps along the way. i'd encourage you to take a look at the Workshop discord or forum on the site so that you can get some suggestions and start learning to improve. NO

this is 26 seconds long with 28s of silence after it. it's a neat tech demo concept but isn't close to what we could accept here unfortunately. there's nowhere near enough development of arrangement to meet our arrangement requirements, and the instrumentation isn't what we'd expect to see either. i'd encourage you to review the Standards - notably points 1.2., 4.2., and 5.2 - as they detail what we expect for our site. if you fleshed this arrangement out some more and looked into some of the free VSTs and sample packs that are available on the web, i definitely think you could turn this into something legit! but what's here isn't there yet. consider the Workshop discord or forum for additional resources. NO

This song was originally created as a way for me to learn how to use LFOs, as I've been comfortable in DAWs for years, but never really produced anything meaningful--and if you can believe it, never knowingly used LFOs. Serum 2 had dropped a few weeks prior to me starting on this, and everyone lost their minds over the plugin, going as far as crashing the download servers. I wanted to not only familiarize myself with Serum 2, a tool that the entire amateur music industry seemed to collectively soil its pants over, but also to learn how to use LFOs in a way that is both textbook and also wide-breadth application, so that I can use them more in future projects. I also really, really like Half-Life, for all its janky glory in 2025. It's a formative game for me. The core, lead synthesizer to the remix, audible from beginning to end with very little breakage, is based on something not even the original composer created: it was a stock sample from a trance music sample disc from the mid 90s. I decided to recreate it from scratch so that I could manipulate it as I saw fit. Given the game's propensity to use samples for a large part of its soundtrack, I feel it necessary to clarify that there are no samples whatsoever from the original game song in this remix. The lead synthesizer alone utilizes six LFO channels, each on a different programming (retrigger, duration/how many bars, etc.) to automate its various textures and filters. This was the point of the exercise. Nearly every other track in the song uses 2 to 4 of their own LFO channels, and the rest is either sampled (sourced from my Splice back-catalog, 909 kits, or whatever else I had onhand) or oscillators tweaked to imitate the timbre of real instruments (the electric guitars, for example, are not sampled guitars--they're distorted and shaped sawtooth oscillators). The original song is a lot simpler, and has a more obvious A-B-C sequence of structure, like verses to a lyrical song, but not really. I decided to try and unify some of these sections together so the song sounds less like four separate ideas concatenated together, and more like a song that evolves and riffs on the same cool sequencer lick. Thus, the song is more of a buildup, reaching a bridge section which drops most of the percussion except for a Daft Punk-esque tambourine, and a crescendo climax which integrates faux electric guitar and the heavily chorused/flanged synthesizers typical of Half-Life music. Vocals are a mixture of scatting/improv vocal samples and a gospel choir thrown in there, because it's the closest in feel that I could think of to match the as-yet-unknown vocal sample of the original song. For mixing, I tried to ensure each instrument channel had an EQ register of its own, but there was always bound to be some overlap as instruments sound pretty bland and unconvincing without their harmonics. The climax of the song had to be compressed to ensure all the loudness of the various lead instruments coalescing together didn't destroy anyone's speakers. This part is the weakest part of the mix by far, but Half-Life 1 music is very in-your-face and dare I say aggressively 90s, and I don't feel bad about it being loud--I just hope it doesn't lose too much of the plot. I'm not a music producer, I just like OCR and Half-Life. I'll accept any feedback and make changes as the review staff see fit. Games & Sources Game is based on the outro/credits theme to Half-Life 1 Original song here HL2 also sampled this song for its own credits theme, but it was fairly different in that version, different enough to be its own song (and very short, only around 30 seconds) Both songs are by Kelly Bailey The main synthesizer hook, audible from the very beginning, in the original game's soundtrack was a sample from the disc entitled Trance Formation: Creative Essentials Sampling CD - Volume 6, track 19, sample 3, "Trippy Seq. 3 F 120." This sample was recreated in my own style for the remix. A large quantity of samples are used in the HL1 soundtrack, none of which are used in this remix--I tried to source my own or create my own. A list of known samples from the original song can be found here.

opens with some very light piano. the hammer tone of the higher octave of the keys around 0:17 sticks out a bit, but that's a VST limitation more than anything. there's some really nice sequencing in the approach here - starting with the higher octave, moving to left hand block chords, and then by a minute in moving to a more flowing left hand, with more personalization in the right hand - it's a really nice flow. 1:30 adds in some third-hand panned elements which give it a bit of a spacey feel for a bit, a neat addition. 1:42 brings in a new, fuller orchestration that also features constant motion which i think helps convey the feel the remixer was going for. 2:33's focus on the IV-vi movement is really nice and helps emphasize the really nice original elements that make this a nice song. around here though i noticed that most of the right hand had been hammering for over a minute at about the same velocity, and it starts to be a little uncanny valley/machine gun. there's an absolutely delightful transition and key change into 2:58 (genuine smile there, it's great), and we get some noodles that are ultimately a setup for the ending. there's an extremely light doubling in the upper octave for the last line that i wish was a bit louder because i love the idea, and then it's done. i don't think this is too conservative for the site at all! i think there's some real fresh air in this arrangement and approach. really appreciate the couple specific times you really changed it up (like at 2:58), and wouldn't have minded more of that, but what's here is great. YES

Other artists/credits: jnWake (Electric Piano, Lead Synth, Organ) roqdrummer (Drums) streifig (Lead & Additional Guitar) Nivan Sharma (Lead & Additional Guitar) Justin Wilbanks (Drum Recording & Editing) Besides the arrangement, I also handled the bass parts, rhythm guitars (and some additional guitars), vocals, and mixing and mastering. I was inspired to arrange this song after seeing the band F8-Bit perform it live. At home, I picked up my 6-string guitar and started playing some arpeggios reminiscent of the chord progression in the second-to-last section. In reality, I was playing a guitar part very similar to a part I came up with for one of my band's songs that happens to have a pretty similar chord progression; that part was ironically inspired by Chrono Trigger/Cross and Yasunori Mitsuda in general, so I thought it would be poetic to use it as a base to start my arrangement. My guitar was also tuned to Eb standard, and I was playing the section in Eb minor, even though the original section was in B minor, so it results in a wildly different key than the original for the intro; once the band kicks in and the original first section kicks in, it transitions to G# minor, a half-step down from the original, and it remains a half-step down throughout the song and the two key changes found in the song. The structure is more or less like the original, aside from some added bars in some transitions, as well as the last two sections each having a repetition; the OG second-to-last section starts with a more laid-back variant much like the original, but then it explodes into a bombastic, epic version, featuring streifig's huge lead guitars. Then, with an extra sick drum and guitar fill, the final section starts without the melody and instead has a beautiful and melodic guitar solo (handled by my longtime vgm friend Nivan Sharma!), before finally coming back to the original melody (with an added harmony!), and an extra little set of rhythmic jabs and a drum fill to send it off. Style and genre wise, I labelled this as Prog Rock/Prog Metal in my YouTube upload title, as I typically do on my channel as the best-fitting label, but I also took some inspiration from some post-rock/space rock with the shimmery and big reverby guitars (big reason why streifig was invited onto this project!), as well as more alternative metal and post-hardcore music when it comes to the driving rhythm of the drum part I gave to Roque, and the kind of rhythm guitar parts I came up with; the arrangement inevitably became more proggy with what I got back from Roque though, as well as the bass and keyboard parts, and the rhythm guitar parts aren't especially noticeable or at the forefront with the melodies and other embellishments added on top. This was originally done as a submission to Dwelling of Duels in March of 2025 for one of its Free months. Since then, I recently did some mixing/mastering touch ups and finally uploaded it to my own YouTube channel at the start of July. Games & Sources Chrono Trigger - Chrono Trigger Chrono Trigger - Schala's Theme Chrono Cross - Radical Dreamers ~Le Tresor Interdit~ These two are not the focus of the arrangement, and are just referenced as easter eggs that are pretty subtle, especially Schala's Theme; the main melody is referenced in the intro section by a guitar kind of in the background, and Radical Dreamers is referenced in the second quieter section in the middle and the bigger section right after that by a few instruments; first by a shimmery clean guitar + vocals doing the Chrono Cross melody (which is important in the game's story), and another background guitar doing the main melody; then in the bigger section, the CC melody is played by the lead synth. In both sections, one or two guitar parts reference the guitar arpeggios. Wasn't entirely sure if I really needed to note these sources since they're just easter eggs, but maybe better safe than sorry.

I just love this song and I had to do an arrangement of it Games & Sources Tyrian 2000, Composition in Q

The song is a very short arrangement of the Song of Storms from Legend of Zelda Ocarina of Time, it's abou 54 seconds long, I chose to make it short so it can be used maybe as a ringtone or a short background song Games & Sources Legend of Zelda Ocarina of Time, Song of Storms

the original decision thread is here: source breakdown remains the same. changes for the resub: - tried to tighten the timing in general, especially in the middle section - changed some of the shaker patterns to add more dynamics, - unmuted the handclaps track i've recorded for the original version special thanks to Argle in the OCR discord for helping me fixing the timing. Games & Sources Sky Shark - Stage 2

I've been reluctant to submit anything I've worked on for my recent "Reflections" project because most of the music for that has been stripped-down piano arrangements that are fairly conservative and close to the source material in their approach. This particular project for me was much more about visuals and storytelling and nostalgia, and I've found that the more traditional piano cover approach works well for that media. While my rendition of the "Leaflands" theme from Octopath Traveler II is similarly fairly close to its source in the structure, I was happy with some of the arrangement choices I made, and it covers an absolutely beautiful original piece from a soundtrack that has as of yet received little love on OCR. This particular arrangement in the context of my project is meant to convey a feeling of remembering past holiday gatherings and the wistful realization that the family and the world of those times is in many ways lost forever. The original melody has such a feeling of childlike awe and a tinge of longing that for me it worked beautifully as a piano rendition as well. If the arrangement is too close to source for OCR standards I absolutely get it. No harsh feelings for anything that's not up to the standards set for the community. But it's such a beautiful song from a relatively under-represented OST, I figured I would sub just in case it worked out. Either way, enjoy the listen, and thanks!! -Mike Games & Sources The Leaflands Octopath Traveler II Composed by Yasunori Nishiki

i was up and down on the first version of this one for a while. i didn't like the solo but liked the concept, and wound up actually changing my vote from YES to NO at one point as other folks weighed in. opens with some light synth rolls - nothing startling here. band comes in at 0:26. percs and bass sound a lot better than it did before iirc. melody here is a little square - no timing personalization, just everything on the downbeats. tsori comes in at 0:51 and i really think he could be both louder and have more verb on his instrument. it's lower in the range for this part mostly, and it doesn't speak as well as it could. there's also a touch too much formant on his tone so it's a little sharp compared to the rest of the very lush backing elements. i like the doubling at 1:17 though with the guitar - that's a neat sound. tsori shows off a bit of range at 1:36 which is nice. the descending chromatic line in the background is right in the same range though and that conflicts and sounds confusing. there's a bit of a lick from the trumpet and then it moves to a new lead at 1:42. i wouldn't have minded a cymbal crash or sfx on that transition. this felt like more of the same by this point as we hadn't really had a significant background change in 90s. the lead's so chill that dropping the percs or switching it up there would have been a nice change. coming out of the solo section at 2:19, we get a big change in the backing elements which is nice. there's some light airy pads with the trumpet on top, and from there go to a back-and-forth section between the guitar and trumpet which is really nice. guitar in particular is great. 3:14 is a drop and we get some chorale-ish chords to play us out, and we're done. there's a lot cleaned up here. there's still some funky notes occasionally, and some of the balance isn't quite there, but what we have is a solid take on a great theme. mix is much cleaner this time around. YES

excited about this one, it's a great concept and a great list of musicians, and an outrageous track. opens with a very heavy, intense opening right away with multiple lead instruments. trumpet might be a bit buried. there's a huge fall-off at 0:40 with some interesting effects, and the keys bring us into the melodic material. i love the delay on bringing in the drums there, that's fantastic. really like the drum pattern in here, as well as passing the melodic line around. similar positives on the trumpet/guitar intro at 1:22 - and the unison section! oh, that was great. really like the pairings of acoustic and violin, and trumpet and guitar. the interplay of melodic and solo elements in this section through 2:15 are great - really enjoy the variety and the way that parts are passed between. 2:15's a big break back to the acoustic guitar for the lead. this quickly kicks it up soon afterwards. and i like the key change there to help it feel fresh and different from before. there's a huge build and even a silence break before a very appassionato chord at 3:17 - i think the silence was a bit much, but i like the focus on this section and the half-time feel to help it sink in. there's another big break and we get some keys before a big, turbulent section starting at 3:55. there's a lot of difference here than before's band sounds - lots of more rhythmic elements to help it drive forward. your storytelling here is helpful to understand what's happening. the recontextualization of 4:41's theme is really nice. the last minute or so is a pretty intense blow - really great work by minusworld to keep it so intense on the lead part. the ending hits - i wish the sustain was longer! - and then it's a few chords to finish it along the sfx from before. this is a real whirlwind. i'm so surprised it placed as low as it did in DoD - the storytelling and direction of this is fantastic. it sounds excellent and it's a tight mix overall for a variety of instruments. this is an easy vote as expected. YES

such a goofy soundtrack. the melodic line is so angular, all the ascending fourths are an inverse of the bassline so that's really fun. opens with detuned, crispy chords that echo the flute element in the original. 0:17 is where the percussive elements come in, and i agree, they are drowning in reverb. it's a lot lot. bass and melody come in together at 0:32. the lead instrument is a really unique sound with the detuning on it. the vocal clips are real interesting too. there's a guitar that comes in around 1:05 and noodles through the melody, and soon after we get what sounds like an accordion or organ with vocal clips on top. this is another interesting sound profile, but admittedly the feel is getting tired by here after 90+ seconds of the same thing. there's mercifully a break right after this at around 2:10 - this would have been a good time to do a different drum pattern for a bit to give it a break before going back to the original feel at 2:26 when the bass comes back in. the track keeps the same feel with a recap of the original synth lead before a sudden stop for an ending, and then it's done. i really don't care for ＡＥＳＴＨＥＴＩＣＳ that much so this genre isn't one i'm super familiar with. overall i feel that the track is pretty stilted and repetitive, although the concept is neat initially. the effects work on the vocals and leads is pretty impressive. the reverb that's washing the whole track does feel less like the lush, rich reverb i've come to associate with synthwave and other microgenres around it and more like playing a speaker in a bathroom - it's a lot colder and harsher than i'd have expected. so i guess i'm not sure if my thoughts are appropriate here or not. i'll wait to get some perspective from other judges. ??? edit 7/31: i listened to a pile of stuff that emu wrote, and read through the other judge writeups. i need to state that i think that this genre is nonsense and the genre norms that it encourages sound wretched, way more so than sludge rock or crunkcore or other similarly niche concepts, so that's the context of this vote. but comparing lucas's track to his reference track, lucas's verb is far more present (and metallic, it does sound like spring verb, good call kris) than the other examples provided. comparing it to most of the 'chillwave' and 'vaporwave' tracks on emu's reference vid, the reverb is again more metallic - and, more importantly, the instrumentation feels far more separated. the percussion for example feels like it's a totally different song's percs layered in, same with the bass. i agree that the vocal clips are handled really well, and the obviousness of the low-poly approach is clear. but man, this just sounds like something that comes from a kid's electronic toy that took a dive at bath time. the reverb just feels too much. and that's aside from how angular and stiff the actual arrangement feels. NO

not quite 4db of headroom. this is a bop of an original, never heard it before. opens with some keys playing some chord blocks that are really, really loud compared to what's going on in the background. there's some heavily filtered riffage in the background, and eventually we get a bass element at 0:23 that's playing some of the bass riff from 0:13 in the original. there's the melodic element brought in at 0:57, and it's in a traditional detuned piano. there's a bit of harmony after a while, and then the melody gets passed to a new instrument at 1:36. the keys at this part are again really loud compared to everything else. there's a shift at 2:15 to reduce the instrumentation and drop the drums and to layer the lead with a buzzy pad that's much lower. it does this a second time, and then it's done. i'll be the first to note that lo-fi doesn't mean put a lowpass at 3khz on the entire track, which is what's happened here as far as i can see. so from a mix perspective, this needs some definite assistance. i'll page resident lofi expert @Emunator to suggest some more applicable production techniques since he'll be 1000% more detailed than i could be. in terms of the arrangement, what's here is very straightforward and simple. lo-fi doesn't mean that you can't still have a creative adaptation, and what's here is pretty much just a transcription. adding more LTH to it and not leaning so heavily on what made the original track great would be a great choice here. i think the workshop discord can definitely assist with giving some additional feedback and perspective on how to make the arrangement more personalized. this isn't there yet, but it's a neat idea and i think it has legs. i'd love to hear it with a better mix and more personalization. NO

opening apes the intro ostinato but doesn't replicate it perfectly. really aggressive band sound right off the bat - guitars sound super huge and beefy. there's a funky note in the vocals in the second verse ("the" in "the right to choose"). we get the chorus at 1:07. the fast riff at the beginning of each line is unintelligible - i can't tell if it's due to timing from the double-tracking of the vocals or if it's just poor enunciation. the tone is fantastic though - this is 1000% the right key for your voice, and the melody line is adapted in a great way to fit what you're best at. the following bridge is a bit of a break, but there's still some flashy vox work here in the descending line. prosody in this section is real goofy in a few places ("beams reflecting" is a big one), and more importantly your pronunciation is really rough - even seeing the words, i had trouble tracking the lyrics onto what i was hearing. 1:43 is going to be divisive - doubling the line two octaves down is certainly a choice, and the significant pitchiness of the second line "test of one's resolve" is really obvious when there's nothing going on underneath it to help ground what's going on. this is something that so few singers could do, so the approach is impressive, and the transition into the following section is great. but i really don't care at all for this section. it's pitchy again after here a bit, like at 2:06 there is straight up a wrong note in the vocal line (sounds like a mistake in melodyne tbh). there's a slick guitar solo after this section and it gets a double-time intensification halfway through. 2:50 the vocals come back in for a recap of the bridge. there's a synth line that's popping out of the texture here sometimes that doesn't quite fit the rock feel. after this is a big drop and build. the vocal line comes out of here into a big final blow with some big harmonies, some big screams, and a big chord to finish it off. there's some huge positives in this. the band sound is big and beefy and great, and the guitar solo elements really are solid and fitting for the arrangement. i think the adaptation is really interesting and much broader than i'd have expected a synth rock to heavier rock transition to be. and ofc cyril's tone is spectacular - just continues to get better as he gets more experienced. on the other hand, the prosody in several sections of this is really messy, and more importantly, i can't understand 3/4 of the words. the section at 1:43 is really something i don't think works at all (but would understand if someone else was totally taken by it, as it's certainly a choice that was committed to). from a hobbyist bar perspective, i definitely think this is over the bar, personal feelings aside. so i'll give this a positive vote, and reach out to cyril to at least fix the wrong note at 2:06. YES

>5db of headroom. opens with a straightforward version of the original in piano, which quickly adds some band stuff at 0:13. mix is very dense in the low mids especially and is very muddy. sounds pretty low-poly too, like it's been downsampled at some point - it feels like when i used to run 64kbps on my 256mb mp3 player so i had enough room for all my songs =D 0:29, a guitar lead comes in. it's fantastically handled and sounds great. the arrangement up through here is doing a good job of letting the fun parts of the original come through and not getting in its own way. there's a break at 1:24, again with the keys. we get an electro build-up (i really expected edm after that), and then we get another guitar solo that again is great and well-handled. another electro break and there's a recap at 2:08 with the guitar leading again. one more lick in the piano, and it's done. this is a really fun arrangement! it's nothing over the top or complex, but it does a great job highlighting the reasons this is such a heavily covered theme. the lead guitar does a fantastic job especially with the solos. my main issue is the mastering sounds pretty rough. there's a ton of sub-40hz content which is gumming things up, as is a very broad and dense freq package between like 100-300hz. you have a ton of fundamental and not much in the mid to high mid space, which makes it sound really heavy and cluttered. cleaning that up is just a matter of pulling back some of the filtering on the lead elements (the keys sound like they've got a significant low-pass on them for example) and notching in the EQ on some of the other instruments to avoid conflicts between, say, the rhythm guitar and kick. this is really close to being super fun! just adjust some of the mix and we'll be there. NO