prophetik music   Judges ⚖️

opens with some light arpeggiated synths. i like the subtle bass element that comes in after a bit. the melodic content comes in and feels very newage at 0:13 - the super shimmery synths and faster tempo is a really different feel. i really was certain the kick at 0:38 was going to bring in a 12/8 feel after the first two beats. the bass drop right before the lead stacks come in is really fun. and when you finally set the beat and it's 2x the tempo we thought, that's a really exciting moment. 1:17 brings in a new lead with a lot of delay body on it, which is a neat sound as well. i particularly like the stutter pad that's behind it in this section. there's some more sculptor's peak right after this (the lead has less body so this section feels a little less, but i think that's unintentional), and then we get back to morning haze for a while. there's a hard drop at 2:34, and we get a bit of a break for a bit. the arpeggiated element that comes in after this is a nice palate cleanser before we get into the next section of sculptor's peak again. the beat drops for a bit, and then we get a big hit of morning haze (sounds like a dispensary thing) at 4:09 as a big final blow after a key change. there's some outro percussive elements, and it's done. this is great! the originals have a lot of character to them, and you managed to up the intensity without losing that character. it's a really fun approach with a load of interesting synth choices. excellent work. YES

opens with a fun filtered violin/ebow and keys, and some percussive elements. as the filter gets pulled back, we get some super tight guitars and ensemble percussion. the lead at 0:46 carries the melodic material, and the band starts to fill out more at 1:00. there's a really tight vibe to the entire first section, with the whole band feeling really close and in front, and i love the sound. there's a break at 1:43, and i really liked the lush feel of the strings here. there's some winds as well that start to really hit nicely as well in here as we get more of a jazz orchestra vibe. joe's an outrageously good player so the horns just sound fantastic. 2:40's another pause in the action for a bit. 3:00 starts the Bold version of the track, i think, and we get an electric guitar carrying the melodic material with the entire orchestra trucking along behind to provide backing material. i like the soli feel of the sax parts in here especially. i almost think the lead guitar here could have been a touch louder and more in front - but i love the backing parts so much i don't mind =) 3:42's got a breakdown feel with the tom groove in the drums, and the whole orchestra hitting the lead parts. it's almost too busy in here at this point, but it's right on the edge so it's just really fun instead. there's a really slick bass riff into 4:10's more intense breakdown, and we get some soloing around what sounds like a persian scale for a bit with a ton of intensifying elements behind. i did a stankface on the end of the solo at 4:36, what a riff! coming out of that we get the B theme from the main body of the piece in the strings with a fantastic countermelodic thing in the saxes behind it. this is so dense in here and i'm here for it, it sounds fantastic despite everything going on. 5:10 we are reminded who's playing bass, and there's a great full-ensemble tutti section. i'm running out of superlatives so i'm gonna stop there. joe rips off a fantastic solo at 5:40 that any pro player would be happy with, and we hit the falling action at 6:04. really like the violin solo in here too. there's one last lick in the strings and we're done. this is the best remix i've heard in a year. i can't believe you're giving it to us for free. YES

opens with some stacked chords in the strings, and some piano outlining the opening main lick in the original. the strings are very dynamic, which is a cool effect, but both it and the piano don't have any room tone on them which makes it hard to place them aurally. additionally, the piano's playing isn't particularly idiomatic given the dancey tone and complete lack of velocitization on the individual notes. in short, every note shouldn't sound exactly the same volume - there should be some variation as you go up and down those riffs. beat comes in at 0:30, along with more sustains in the strings. again, nothing really has reverb, and the additional layered melodic material that comes in at 0:48 is too quiet relative to everything else (ducking your sustained strings below that melodic material would help a lot. the kit is playing catchy stuff, but admittedly i found the clicky, psy-like kick and spit snare to not be fitting the keys and strings quite as well as i'd hoped. this is a dynamic section though with a lot of movement, and i think that sounds pretty cool. there's a surprisingly long silence transition (this is probably 2x too long, but it's a really cool idea), and we're into the 3-3-2 section of the original. this is less mixed-meter-feeling than the original, and imo feels more settled than the original as well. i like what the piano's doing in here - it just doesn't sound real, unfortunately. there's a recap of the A section that starts around 1:31 and again layers in the lead part, but we then get a synth lead around the two minute mark that's a nice freshening of the atmosphere a bit - i'd love to hear other instruments doing stuff in here too, so it's not such a static texture. there's another recap of the A material with some interesting panning concepts for a bit, and track maneuvers towards the ending fairly quickly after that. there's not much of an ending - i think a hard stop ending like you do could work, but you'd need to mute the synth lead's delay so that it doesn't keep going after the last chord. the overall lack of reverb is an issue here - the soundscape sounds hyper-artificial because of that - and the velocitization on the keys is an issue especially near the end with the very fast runs you've got there. i also wasn't a huge fan of what felt like copy/paste for the A material each time it came around - some more variance there would have been great. your rhythm-heavy approach would have worked great for adding some altered chords in there, in my opinion. lastly, i didn't care for the kick and snare tones - the other instruments were more traditional (even the synth lead is a simple one), and the tone of those instruments i'd relate more to psytrance or something that's less dynamic than this in soundscape. i love the concept though! there's some really fun stuff going on here. if you get us a version with a more realistic piano performance, some shaping of the sound stage via reverb, and more cohesive instrumentation, this'd be an easy pass. NO

i love the energy right off the bat. and joe's right, it sounds pretty clean. it's just too close to the original for OCR. the submission standards talk about doing more than reassigning instruments. i'll note there's also some significant copy/paste going on through the middle of the work and when it nears the ending, and the last note is clipped instead of crossfading. i need to admit though that i really dig the vibe! i think it works great. there just needs to be more you and less original for it to fit onto the site. NO

opens with musicbox and some long-tail pad effects. eventually we get some guitar, and the melodic material shows up around 0:36. lots of lush pads underneath - i appreciate that they're moving on time and not too late. there's some personalization of the melody in the following verse, and we start to get some percussive elements too. 1:31 fleshes out the soundscape a bit with keys and a fretless bass, and 2:00 brings in a synth lead. this keeps trucking through the mabe melody without really ever going to a break, and explores a few more personalized versions of the melodic material before ending on a bit of a cliffhanger. this does what it says on the box - it's a very chill arrangement of the mabe theme, exploring a few textures without ever really getting too far afield. there's a few times where the mix is a little dense (like when the fretless first comes in), but overall this does what it's supposed to and doesn't get outside the lines. i think what's here is fine. YES

feels pretty forward right off the bat. the drums sound really forward (adding a touch of wet verb and pulling back the dry would help a lot), and once we get into around the 0:10 mark it really sounds like there's some crunch there. joe's right, though, the vibe is excellent. i think what's going on at 0:54 is some long-tail lead notes clashing against what the keys are doing in the back (is the keys delay effect on there? you may want to turn it off). there's some distortion on the bass tone at 1:57 - i don't think that's intentional, and that's the crunchy feeling i was mentioning earlier. 2:50's fun, but like joe said, the mix feels messy. turning everything down a touch and then fixing the spacial definition of the kit and the EQ range of the bass will make for a much stronger overall feel without losing the tight band sound. i basically just repeated what joe said, but i agree wholeheartedly - tighter mix and this will be an all-timer. excellent, fun arrangement. NO

big drums and guitars right off the bat. this is pretty much a cover for the first minute or so, with most of the representation sounding similar to the original but with new instrumentation. the second half doesn't quite go in the same order, but much of the sections are repeated in various order, and then it's done pretty quickly. what's here is fun! but it doesn't appear to have enough arrangement to qualify as not being a cover, especially given the original's already kind of proggy. i'd need to hear more adaptation - realistically, much more, given how in-depth the genre usually goes - before i'd consider this. as a note, i can't hear much bass guitar in this master either. NO

opens with synth toms and a pulsing, driving beat centered around the chord progression outlined by the original's opening elements. there's a bit of melody at 0:32, but it's hard to hear to under the existing arpeggiating instrument. there's a break at 0:52 that admittedly sounds like something out of chrono trigger for a bit. i noticed here that the drums were pretty auto-pilot for a while both in terms of what they were playing and the fills being used. starting at 1:12 we get the melodic line from the original around the 2:10 mark for a bit. there's a break in the beat right after this for a bit, and then we get a copypasta of 0:22 (this sounds 1:1 to my ears, right down to the too-quiet melodic line) and then later of 0:52, and then 1:12 as well. so that's a lot of completely repeated material. 2:51 is some new material from the original for a few seconds, and then the track kind of peters out - no fill into the ending, no chord resolution, and the instruments seem to stop at different times. i think this one isn't quite done yet. first of all, it's just over three minutes, and more than a minute of that is a direct copy from earlier in the song. that's too much clear repetition - do something different! this can be as simple as mixing up your leads, changing a few chords, adding some countermelodic material, or updating the backing elements. along those lines, i found the drums to be extremely basic and same-y, even for a style that usually uses a base loop for most of a song. mixing up the drum fills so they're not rote and altering the beat for the middle a bit will make returning to it later that much more impactful. another issue is the not-ending is a real letdown. lastly, i'll call out that the melodic material at 0:32 isn't really audible, and it'd be great to get that bigger so that the correlation is more obvious. i do think this has legs for sure! i love synthwave versions of winter themes, i think there's something about the nature of the synth tones usually used for this that fit really well. i'd love to hear this with some more variation to the track and some extra ear candy in your approach. the workshop would be a great place to get some other feedback as well. NO

my last vote on this focused mainly on the directwave flute adaptation (i'm probably the one that was asking why it wasn't live!), and on dynamics and execution. very long strings to open the track (this might be a touch too long). vocal elements come in at 0:16, and some cinematic elements. the flute comes in at 0:32. it's a little farther back in the mix this time, to my ears. the horns at 0:54 are nice and heroic but a bit loud there. 1:01 brings in a men's choir with a very long attack and swell, which is distracting as it doesn't really imitate what we'd expect to hear from a choir. there's a nice pizz in the background, and a piano with a real dancey tone - it doesn't sound classical at all and didn't really fit. the pizz at 1:19 and again at 1:25 and 1:31 isn't idiomatic - fast pizz isn't possible, so this sounded a bit weird. vocals are again used as a transition element after this. 1:44 brings in brass and some harp, and a solo trumpet. the trumpet writing is fine, but the quality of the instrument isn't there. separately, you often pair legato and marcato articulations (for example, the pickup notes at 2:01 and 2:06), and that sounds confusing. i'd recommend normalizing your articulations more consistently (and use less stop-tongued marcato) so that it's more flowing. when the tempo is so slow, the time you spend not playing feels enormous. the flute comes back in at 2:45 for one last play-through of the melodic line, and again there's some nice backing elements here. the flute also does the very short stop-tongued marcato articulation, which again sounds confusing, and the final flourish moves fast enough that it reveals the flute's origination a bit. just jumping the octave there instead of the run would probably help cover that up. i think that the flute adaptation feels more believable for the most part this time around, outside a few nits (it's still not clear why the few minutes of recording needed for this can't be done ever - it'd be such a huge boost in musicality!). i think the vocal sample used doesn't really fit the overall feel given the persian scale it's using vs. the very standard progression by the original, but that's not a dealbreaker. i found the trumpet to be the thing that's really needing some help, and a few elements that need some tweaks, but i definitely think this is a lot closer. if this had a better trumpet sample and some of the idiomatic elements like the pizz and articulations cleaned up, i'd be on the side of passing this. NO

last time around, i was the first no in a cascade of five to flip this from 2Y to a full rejection. i didn't like the master or drums at all, and felt that the synths were pretty bland. most of the no votes centered around the phrase 'lacking verve'. opens with a big, throbbing kick and bass combo. snare has a lot more snap than last time around, and there's some other glassy synths around it to keep it moving forward. melody's in at 0:21 and there's more automation and movement on it than there was last time around. the time signature changes several times to accommodate for the noodly melody. 0:51's lead instrument is pretty blah and sticks around for a while, which is a bummer given the focus on this type of issue in the last submission. 1:16's lead combination is really interesting and different. there's a lot of chromaticism in there too, and the transition into the next section has a lot of neat stuff going on. the drums through here are pretty dull, but everything else is changing and varying a lot, which is neat. there's a big ritard into 2:00, with some sustained lower pads, and we get a significant transition to a different style entirely. the transition isn't super good but it works. this is a more straightforward synth-pop approach complete with a new chord structure. there's some synth solo for a bit, before we get some dx bells aping the opening melodic material for a bit before the track winds down in tempo. there's a last wash (no pun intended) of color on the last M7 chord and it's done. i think this is a lot more functional of a mix this time around. there's still some nits about lead choice and some of the textures here and there, and the end section isn't quite as source-y as the opening 2/3rds, but overall this is a lot better. thanks for taking the feedback and giving us back something better! YES

original vote Here's the original sub post: Lucas Guimaraes - Arrangement Eladar - Production, Mix, Master I took this song on because, while I love Golden Sun's soundtrack, the Lighthouse themes shine high., and this was one of the last important songs that needed to be done. Sometimes, my ambition eats me alive. One of those times was this song - When making this, and even now, my composition skills far outweigh my production skills. I had enlisted someone else before to help, and we were on a tight deadline. Thankfully, Eladar swept in and was able to turn the arrangement into gold - I was extremely thankful. I'd worked with producers for electronic type tracks before, but hearing how well this duo went is wonderful. Prior to, I'd never worked with him. Honestly? Finishing it was a miracle on its own. One of the aspects I appreciate the most about being a creator? Getting to demystify the other side. There wasn't any 'magic'; just a lot of hard work and determination. A lot of that stemmed from when I was finishing my masters degree. I hope everyone enjoys! And here's some new comments: This is where the joke "Louder master plz" comes from. I feel the original voting thread was pretty divisive, and we addressed a lot of the problems and added some new stuff here and there. And I'm happy that it's resubbed. One thing that makes the resubs a bit magical(?) in their own way is getting to reconnect with people that I haven't connected with in forever. Eladar and I hadn't talked with each other in years, and it took us several months of on and off communication to sync our times to get this done. It's weird cause, at the time, I was annoyed at having to resub it for small things. But now I'm happier with this version *and* I'm happier to connect again. Hoping a lot of fellow Golden Sun fans get to enjoy this, and I hope you all enjoy! Thanks once again to Eladar. Really, him and I tag-teamed this and he def deserves as much credit as I do. I'm still surprised the original was done so quick for the album. Games & Sources Mercury Lighthouse

big synth horns to start and a funky bass synth. i like the half-time tempo and feel right off the bat. it picks up and we get the first bit of trumpet. this is interesting, because the bass is pretty rhythmic in what it's playing with a lot of space, and the trumpet has a lot of verb on it and is playing very legato. 0:57 is a piano break, and this is very stripped back - it's just the keys initially. there's some build for a bit bringing in some nice right-hand stuff in the piano, and then it's back to the melodic material at 1:22. this is a pretty low-energy version of what was playing before - the half-time feel definitely is more laid-back, and the lead's slow filter fits into that too. the bass starts to do some more complex stuff after this and there's some backing elements that are also building up a bit, but there are a lot of false builds and drops for a while. this part of the mix felt a little more directionless until we got back to the melodic material in the trumpet at 2:26. like, 2:23 should feel like a high point in the piece based on what the trumpet's saying, but there's just nothing there to support it, and it immediately goes to a very reserved feel in the chords and timbre there. there's one more blow through that melody, and a short tag after the last chord. i think overall this piece suffers from a lack of cohesiveness, and that while there's some big builds and drops, there's no real payoff sections. for example, in the opening you've got this big build over time, with a switch to double-time right as the trumpet's about to come in. i expected this big wall of sound at 0:25 to really be a banger start to the track - but the trumpet comes in and kind of legato plays over the existing elements, and there's no intense wall of sound there or anything. so that build didn't feel like it was for anything. the next section is a big step back to the piano, which is nice (but we never get solo piano again in the piece), and it quickly ramps back up to the recap of the melody in the slow-filter lead with the chippy arps behind it. this is a cool vibe, but it's very similar to the opening section in that it doesn't really go anywhere during the section, and it feels light on content even though there's a decent amount going on because a lot of that is sustains. the next section is very different, with a highly rhythmic bass element, but again there's not a lot going on so the soundscape feels empty, and it doesn't really correlate to anything else in the track outside of being the same bass element. we do get to a recap of the melodic material, but again there's nothing to drastically make this section stand out - no big wall of sound, no changed chords, no altered rhythms, no payoff chorus - just a few flourishes in the trumpet, and it's done. this is a tough vote because i actually really like the concept. there's some really fun few-second snippets that are very chef's-kiss. but i really feel that the verby trumpet over washes of strings and synths with a highly rhythmic bass instrument below it felt jarring and disconnected throughout, and that the whole track never really gets to that "ok, this is what i was waiting for" moment. it's got the pieces but the picture on the box never quite comes together. i'd love to hear more intentionality with the soundscape on the melodic sections to give them more verve and body from an instrumentation and contextual standpoint, and i'd love to hear more overall dynamism in the work. NO

as soon as i heard the original, i knew what to expect from you =) this is so right up your alley. big Dirty Loops feel on the opening, with the flourish in the keys and the moving synth lines right after. melody's in right away after that, and it's very peppy and has some fun drum work going on. there's a quick half-time(ish?) section right after that which is pretty forward-focused still and has a lot of fun synth work going on. 1:00's a bit of a break, and the kirby 64 cameo comes in right after and sounds great in context, really nice idea giving it a flowing melodic line there. it picks up right after and we get some keyboard soloing. both of these get a touch shrill on the end of each, but i love what they're saying. the chiptune arps bring us back around to the original material nicely, and we're back to a building section with lots of little call-outs. there's one more set of riffs, and it's done on an extended chord. this is a lay-up as expected. tons of clever arrangement, the band sound is great, and it's mixed well and performed better. excellent work. YES

Aaaaaaaaand another DoD track! This is my submission for the latest free month (March 2025), where I got second place! Chosen source this time was "Chasing the Miniboss" from Kirby: Triple Deluxe, aka the miniboss theme. Ever since I first played through the game this theme caught my ears since it has such a weird chord progression for the first section. I had always wanted to remix it but was never too sure where to take it until this month, where I basically went ham on making it a crazy prog. fusion jam. Main inspirations are bands like Frost* and KNOWER (my template for the drum writing). Also, since there's nothing that Kirby composers love more than cameo-ing old tracks in their stuff I decided to add a fitting cameo, putting a melody from Kirby 64's Boss Theme into the arrangement. As usual, here comes the breakdown! 0:00-0:04: Based on the intro, it's basically the same really. 0:05-0:32: Riff based on the one right after the intro, not exactly the same but pretty similar. 0:32-0:44: Bit of a feel change but it's still based on the main riff, using the same harmony but changing the speed. 0:45-0:59: Now a more direct adaptation of said riff. 1:00-1:11: Melody is based on the melody that plays over the main riff (first around 0:15) but I changed the chord progression completely. 1:12-1:26: The Kirby 64 cameo! Melody plays at 0:55 on the source. 1:27-1:52: Bass riff! Taken from 0:42 on the source. 1:40 has a keyboard solo over the same backing than the source (piano melody included). 1:53-2:05: Second keyboard solo, bass is still based on the previous riff but with some original writing as well. 2:06-2:24: Chiptune arpeggios! These are based on the piano melody from 0:42. 2:25-2:38: Variation over the main riff. 2:38-3:05: Another variation over the main riff, keeping the main chord progression. We then get another repeat of 0:45-0:59. 3:06-end: Intro repeat and the track closes on C# minor. Hope you enjoy! Games & Sources

my original vote had issues around the need for volumization, some drum EQ work, repetition, and some sections that were lacking in energy. opening still feels light on the bass and kick, and the snare is a touch loud even when everything's playing, but it's not as bad as it was in the last mix. the vibe is still really fun. i think the guitar part at 1:25 is new, right? that's nice to have something else happening there. there's some sfx in the recap at 1:49 too which is fun. i'm noticing the instances where the drum parts are not quite in line more this time around. 2:35's still kind of static with the marimba octaves - i wish we could get something simple alongside that to make it less static. overall, i think my main mix complaints from last time - the very loud rhythm guitar and the weird-feeling drums - are a lot better than last time around. i think the levels throughout are much more balanced, and i think there's some added content that wasn't there before. i don't think this is perfect, but it's much improved overall, and i think this is probably good enough to get it over the line. if it isn't, i'd focus more on helping the overall feel of the track not to feel like there's too much repetition, and getting more dynamics overall in the work. YES

original decision Arrangement: Mel Decision Bass: darmock Guitars: Siolfor the Jackal All percussion: DeLuxDolemite This arrangement was created for Dwelling of Duels' Party month in September 2024, and got 9th place out of 24 tracks. This was my first month participating in DoD. I had a bit of trouble figuring out what to arrange—some of my first choices didn't fit all the criteria—and fell back on the first Mario Party on N64, since I'd recently played that with a friend. Yoshi's Tropical Island is a jam, and got me inspired to dive in the prompt. While it's a fairly conservative arrangement, I've taken a more laid-back approach to the piece's beach vibes. This is the kind of party where you sit back and relax with a piña colada in hand or bust out the grill. Collaboration, not competition, you know? I've subbed the steel drums for guitars performed by Siolfor the Jackal, added some additional movement to the bass, performed by darmock, and added a bunch of additional percussion including a full drum kit part, all of which was performed by DeLuxDolemite. DeLuxDolemite also improvised a conga solo for the piece. In place of some of the default percussion from the song, I subbed in some samples from Mario Paint and Yoshi's Story. With the guitars, bass, and percussion, I did more processing of live instruments for this track than I have on any previous track and learned a lot about mixing everything. The drum kit was especially a learning experience; instead of working on one or two midi tracks, I have audio tracks for each section of the kit. This piece also inspired me to go out and buy some additional percussion instruments so I can play some myself in future arrangements. In fact, I've already recorded some for the next DoD prompt. :) I focused on redoing the mix from scratch for the resub, paying close attention to how the rhythm guitar and drums to address judge feedback. I also added a few spots with steel drums to reinforce the marimba per @pixelseph’s suggestion. Games & Sources "Yoshi's Tropical Island" from Mario Party 1, composed by Yasunori Mitsuda

some nice glassy pads to start, and the melodic line comes in right away. the scattered nature of that lead there is very fitting for an opening element. the beat comes in pretty soon after, at 0:28. bass at 0:32 is a little weird. this is a very dynamic approach, and quickly expands into mixed meter with the Taupe Hollow section. there's some really wild stuff here which is such a shift from the initial premise which felt more poppy to start. i love the progression of styles. 1:27's a transition and build into a new feel with a very dynamic lead element at 1:39. this might be my favorite build and texture out of any of your music, truong - it's so intense and vibrant. i like the little countermelodic shouts in the background. there's some settling action at 2:07. the high lead here has some (obviously intentional) weird stuff that it's doing like at 2:11 and 2:22, but i like it and think it fits into the feel. there's a half-time section at 2:30. there's a ton of long-delay elements here and some chromaticism in the chord work, but it doesn't ever fall on itself (although it does sound pretty dynamic). 2:58's back to a more driving feel, with the forest melody chopped up on top for a bit. this isn't quite the same as the opening section at 0:28, but it's very similar. same with the following mixed meter section, break section, and shout section right after (build has an extra measure) - so that's actually a lot of repeated material, over 90s, before we do finally get some different material around the 4:30ish range. we get a nice final chord at 4:50, and there's some outro as keyboard cat plays us off. this is a fun ride through a variety of themes. i never got the feel that there was multiple melodic sources here - it's very well-connected and a great whole. there's more repetition than i cared for, but overall i found the track to be well-handled with good synth choice, a solid master, and a fun arrangement. nice work. YES

i've never heard this original track, but it's a bop. opens with a big, bass-heavy approach right off the jump. drums come in soon after, but the bass is super-loud and way over the top of everything else. i think what the drums are doing is interesting, but it's hard to hear what it is. i like the significant verb and delay on the lead piano and the tone as well. there's some definite stepping on chords in the 0:44 range and right after - several pad chords overlap each other and makes for some crunch. there's a very random and funny break at 0:52 - for real, i'd love to hear more of that! - and a recap of what we already heard at 0:07. i believe that was pretty close to a copypasta. 1:21 is a big shift, complete with amen break and some other material that we haven't heard yet. again there's some pads stepping on itself here. we have to goofy break one more time, one more ascending bit of melody, and it's done in under 2:00. there's some really fun ideas here! the main concept is the sound test from 0:07 to 0:52 - this is an exciting and energetic take on the original that would be right at home in a racing game. the bass is far too loud and the whole mix is really messy, but the feel is straight out of Ridge Racer or something similar. i think if you use that as the core (fixing the chord issues at 0:44) and expand some more while improving the balance of the instruments, you'd have a really fun remix. i suggest checking out the workshop - either on the forums or on the discord - to get some feedback and refine some more. NO

classic original. such a simple but beautiful melody. long-evolving opening pad - eventually it opens up and we get some other synths as well. melody comes in at 0:23 with some nice wind chimes. flute is right on the edge of uncanny valley, but what it's doing is nice. as the chords move faster (at about 0:48) there's a bit of overlap in the backing pad. this is pretty conservative through the first minute. we get a beat at 0:56 and a bunch of filtered elements that open over time, and some personalization of the melodic material near the end of this section. at 1:36 the mix feels like it's finally arrived - there's a snappy beat, the first bass instrument, and a more personalized melodic line. 2:10 goes right into the fourth repetition of the melodic line - this may have been an opportunity to mix it up by having a bit of space before diving back in. still, what's here is nice, and i liked the measure in the middle where the backing elements drop. i also like the bagpipes that come in near the end of this section. we get a subtractive version of the melodic line after this, in what is clearly some falling action. there's a bit of a settled last chord, and it's done. i wouldn't have minded if that chord had lasted an extra second or two to help it feel more settled. this is short and sweet, pretty straightforward but featuring some nice ideas. i think the opening's a little long and i'd have liked to hear some breaks from the melodic material in the middle somewhere, but what's here is over the bar and fulfills our criteria. welcome back argle =) YES

@Liontamer @Emunator updated version in first post with slightly reduced high freqs on shaker. enough?

opens with strings and timpani, and quickly gets very cinematic and dense with the first swell. the iconic theme comes in soon after with some really interesting choices from an instrumentation standpoint. i particularly like the combination of horns and strings on those marcato eighth notes. a few times i think there's a little too much sculpting on the velocitizations - for example, in the horns at 0:36, with the lead notes being buried so that there can be a big swell. 0:51's a fanfare section, and there's some play with the time signatures that took a few listens to grok. i liked the different feels that you were able to represent in such a short period of time. the trumpet fanfare, running string patterns, and later ascending lines at 1:22 all were very A New Hope-esque. a triumphant theme is announced, and then we're into the falling action. i am normally so against extra-short remixes, but this accomplishes so much in such a short period of time. this is dynamite and i really just want a version that gives you more time to expand on some of these elements! what a great reimagining of the original. excellent work. YES

I re-scored the Star Fox 64 opening cinematic -- the one where Fox & team receive General Pepper's distress call, run down the corridor to their Arwing hangar, and blast off to save Corneria. I tried to make it as cinematic as I could, as if scored for full orchestra. One thing that always stood out to me about the original was the corridor running sequence -- I felt this amazing cast of characters didn't quite get the warm welcome I was looking for. Their close-ups are so iconic -- was there an opportunity to musically personify them one-by-one as they are introduced? I tried my best to address that. The original cutscene music (“Opening” followed immediately by “Title”) forms the structural framework for the arrangement, and I weave in material from “Mission Accomplished,” essentially the Star Fox team's Main Theme, to provide that thematic movie score feeling. On the use of reference material: Although I approach the star-dusted opening sequence differently (scoring the lens flare and N logo with string glissandi and brass swells), keep your ear out for the "Opening" theme's ominous rising four 16th notes ostinato, highlighted in the strings. When the Great Fox appears, you will recognize the familiar "Opening" theme, which I first pare down in the horns and woodwinds (the tuba’s round-like response reharmonizing it) and then orchestrate in grander fashion as General Pepper reveals Andross' war. As we cut to the corridor running sequence, I turn to the team's 'Main Theme'. You will know it when you hear it – it is an 8-note motif (the "do-so-laa" one) that is heard in various parts of the soundtrack (notably "Title"), but in Kondo's "Mission Accomplished" he fleshes it out across six phrases. The first phrase, re-orchestrated and re-harmonized, forms the basis of the shot of the whole team together. As we move through the individual close-ups, I move away from this material, giving each character his own phrase -- Slippy's surprisal, Peppy's staid approach, and Falco's antagonism -- which sets up a triumphant return right back to "Mission Accomplished" for Fox’s close-up. The final phrase of "Mission Accomplished" with its repeated 16th-16th-dotted quarter figure forms the basis for the next several shots, from the melodically ascending transition away from the corridor, to the march-like section accompanying our initial views of the hangar, and finally to a melodic variation that rises through the orchestra as the Arwings fire up and blast off. Finally, I arrange "Title" for the title splash. As the music fades, the flutes quietly reference the intro to "Mission Accomplished.” If you're curious, the re-scored cinematic exists (over here: https://youtu.be/MIZyl-Eogx4 ), but this one’s for the film score fans. Thanks in advance, I really appreciate your consideration & feedback! -Mark Reference Material Opening The well-known part (starts at 0:25) The string ostinato (starts at 0:50) Title Title Splash / Main Theme (0:00-0:10) Mission Accomplished Main Theme First Phrase (full team shot) 0:12 Main Theme Penultimate Phrase (Fox’s close-up) 0:28 Intro 0:00 Games & Sources Star Fox 64 Opening (https://youtu.be/UW-7Em3BYiA) The well-known part (starts at 0:25) The string ostinato (starts at 0:50) Title (https://youtu.be/-Z99Xi4ES2Y?si=yxU-Q4jK-3woJeVs) Title Splash / Main Theme (0:00-0:10) Mission Accomplished (https://youtu.be/GuB1S_avUWw) Main Theme First Phrase (full team shot) 0:12 Main Theme Penultimate Phrase (Fox’s close-up) 0:28 Intro (0:00) Tracks by Koji Kondo

opens with some very quiet sfx and strings in the right ear. they don't sound particularly realistic at this volume and the right ear is really heavy here, so this is not the greatest representation. the flute and clarinet handoffs here are obviously something that'd be really hard to coordinate, but they get off a few times in the flute part (ie. the part that one person can control), notably every time there's a rising line the upper flute part rushes. the little picc and ocarina flutters in here are really nice though as we get into the eagle's tower section, and i like the shift in tempo and time signature through this. city in the sky's opening is nonsense, so it's fun hearing it realized here at 2:28. this section is a much broader realization than the prior song in this medley, and it's pretty without being overwhelming. i will note that i didn't get the hard stops in the realization (2:57 and 3:04, and often following), even more so because there's sustain in the harp and bells in those areas - it didn't make much sense to me what those were there for and why they weren't complete. moving into something as traditional as astral observatory right after that is a significant change, and i thought it was handled pretty well. it's a pretty short cameo for the theme though, which is a bummer since it's such a nice original. revali's theme right after it though is also a strong melody, so that's a nice one to embellish more. this is easily some of the most lush orchestration in the entire work. the violin lead at just before the five minute mark isn't particularly realistic (especially when compared to some of the live instrumentation) - it would have been nice to hear an oboe there, for example, given the original. rito village comes in soon after and has some nice settling action before again building up some energy with sfx and some nice flourishes in the flutes. the last source, crimson loftwing, is represented in some beautiful oboe work and then english horn - what a beautiful tone! i wish it was used more in this, it's such a resonant and rich sound. there's a slighly sour note at 6:57 in the ehorn (sounds like a chord isn't done behind it when it plays that descending line). there's some wind fish cameo at the very end, and it's done. this does what it says on the tin, as we'd expect. the transitions are solid, each theme is represented nicely, and the overall package is enjoyable. it doesn't push any boundaries, but what's here is above the bar. YES

This is the middle part of my Zelda sky themes medley! As before, the wind parts were performed by Brooke Ferd, Gamer of the Winds, and Steven Higbee. :) Games & Sources 0:00 Vah Medoh 2 Terminals (BotW) 1:13 Eagle's Tower (LA) 2:12 City in the Sky (TP) 3:27 Astral Observatory (MM) 4:13 Revali’s Theme (BotW) 5:12 Rito Village (BotW) 6:04 Crimson Loftwing (SS)

opens with some heavily filtered arpeggiated elements and pads, and some really ringy vocals. the big hit at 0:31 reminds me of another remixer's penchant for huge transitional synths. there's some trancey keys doing the arpeggio and eventual melody line, although they're not particularly idiomatic. i found the wide spacey synth with the long delay on the attack to be a little too fast for how slow it was, but i liked the vibe for sure. there's a big transitional element into 1:39, and there's some really wild sound design here that's fun. i appreciate that it never quite settles down to a normal - it's constantly changing and evolving. 2:10's a hard drop in style, and the keys here sound like they're releasing early which is interesting. the lack of sustain compared to earlier feels is unsettling. another big build into 2:44, and there's a particularly filthy bassline synth that i really like here. there's also a lot of rumble which i'm not as big a fan of. the lead here is outrageously mean and over-the-top extreme, and the transitions are all really janky, so this is very intense. 3:30's long falling action functions as a great palate-cleanser to that intensity, and we hear the docks come back much clearer this time around. the sfx in here on the vocal clips is enough that i couldn't tell at all what was going on in them. i don't know if that was intentional or not. the piano in here is a little too high and piercing for me, and combined with the overtones from the vocal clips, this was kind of uncomfortable to listen. we finally reach the third section, and it's a much more straightforward, heavy feel. most of this didn't seem to be clearly able to be mapped to the original in any way, but there was some clear intentionality at 5:11, and later when the keys come in at 5:41. the intensity of the drums especially is nuts through this whole section. i found myself liking the setting more than everything that the lead was playing - especially initially, that low bend sounded nowhere near the key that was being played. 5:41's a significant falling action, and this is clearly the end of the road here. there's some sfx to end it, and we're done. what a ride! this is so broad from start to finish, showing a ton of versatility and stylistic influences. i certainly don't think it's perfect, but what a broad spectrum of approaches and concepts. i certainly don't know of another DDD concept that comes at the original from so many different directions. it's easy to nitpick something so broad, so i'll just say that i really enjoyed it, there's more than enough source for it to count, and the perspective here is intense. nice work. YES