zykO

ugh, why do you have to do this to me. i passed this the first time cuz it was fantastic. this is even more Gladiator now. i dig. i have to disagree with the comments about film scores not passing our bar because of their background musical nature and their lack of distinct melody. i believe that we are not here to judge the purpose of music but rather its quality. a "song" doesn't hold any more of an intrinsic musical value than film score. that said, there are points of this that are too soft for the music itself and at times, i am lost in it but i think that can be explained by the fact that, as judges, we are listening to the piece in a different light than a non-judging listener would. in other words, we are paying more attention to the piece than we would had we listened to it casually. if i listen to this again tommorow as i'm doing something else, i won't think twice about its lack of anything. the volume issue, however, ought to be noted: this is not written to be soft; rather it is written to be aggressive and as such should have appropriate volume. really, really dig it still. funny thing: while we're all mentioning how much it is reminiscent of zimmer's work, nobody brought up that this is basically Orc Music from World of Warcraft. hahaha. i can totally picture myself running through ogrimaar right now. with an axe i am in a tough position as the tie breaker because while this is still a definite yes in my book, i do want to hear it louder. so. RESUBMIT LOUDER BY THE TIME IT GETS POSTED YES(LOUDER.)

interesting mix. interesting mix to re-pop my cherry, no less sparse yes but in its simplicity, effectively entertaining. i'm a sucker for simplistic arrangements to begin with but this isn't really all that sparse... it is actually quite filling. consider it a double quarter pounder at mcdonald's - it isn't the carl's jr. six dollar burger but you don't come out of it hungry still (unless you're me but that can be explained). it doesn't have a lot going on but i see it as a strength rather than a weakness. simply put, it doesn't have unnecessary parts distracting the listener's attention. it is a confident, direct dose of goodness. the pads are full, the bass sits well with the drums and drives the piece decently, the arrangement in 6/8 is a nice breath of fresh air, and i love the bit of dissonance at controversial 0.48. all in all, it is good. i embrace the role of tiebreaker because i trust my instincts but i don't think this one is as tough a call as it has become. YES

that is quite profound. my genuine thanks

as an arrangement, this is an interesting piece. this is definetly more of your vocal style, for one - i was just listening to the lunar track and this is much better. the vocals generally follow the original source but this is a very pleasant arrangement of a theme that has been done many times. the verb is surprisingly tastefully abundant - a lot but good. it gives it a sort of world enigma sort of feel to it which is perfect for the source and the bottom line. the mastering on this is good. the intro is a good start for the arrangement as it is very transporting. the transition into the intro is escorted by the quirky drum transition into the vocal section. you play with that subtle bassline that actually gives what is seemingly a slow, airy, ambient piece a steady pulse. nice feelin good about this one. YES

sequenced brass is the bane of the world, i know - but come on, this ain't that bad! i just listened to some of the fakest brass you can possibly have about two songs before this one and honestly, this is alright. arrangement is on point. it does not venture too far as it does not really need to. afterall this is now being performed as a brass quintent and that's really all the validation it needs as far as that. i think the original parts are very intelligently incorporated into the main body. very nice work on smoothing out the whole thing to being so coherent the ending is not so abrupt really - its perfect. the build up is moving, the climax is a couple of brass hits and the fade is classic. bada bing badaYES

agree with larry on this one being fairly flismy sounding instrumentally. it is gamey and i don't mean videogamey and as a result is very hard to listen to. that doesn't say that the arrangement isn't good which i think its pretty neat. a lot of it is uninterpreted but it gets really crazy and while larry refers to it as fluxoring with the sounds, its actually quite brilliant and funny as fuck. still, the overall production quality is too much of a liability in other words i really do like the arrangement, it is just that while the intent here may have definetly succeeded, a yes, it did not accomplish NO

as an arrangement this is brilliant. it is written fabulously. the execution is an entirely different story as, like vig pointed out, there is too much headroom; i feel as though i'm lost in the middle of the thing like there is little cohesion between the instruments. the thing, therefore, comes across soulless as there is no backbone to this magnificent bag of flesh and blood. the parts that become aggressive are, in contrast, very effective and moving but on their own can easily be found out to be a loud and heavy layer of a lot of fake sounding instruments. the brass is, of course, a bitch to sequence but even by that standard, this is bleh. still, the arrangement is killer. the general structure is intriguing as it seems to follow a coherent path a lot like a story. we've heard hundreds upon hundreds of medleys as they are the scene's favorite mealticket but very few tell stories as much as they link multiple themes. i feel this one sorta accomplishes that so it has that to its credit as well but ultimately, this does not sound right. this is just another scenario where the excellent arrangement is killed by a dead, uninspired execution mostly because of how the instruments sound and the general mastering. i am not one to ask for resubs but this is hard to reject for me. however, i am positive you can give us something that is mastered better than this NO(resub)

truly the idea is pleasant and there are some moments where it is momentarily all working but all in all this is a track that benefits a lot from the original. the vocals seem to be the issue for everybody and i can see why - they are hard to follow at times and the lyrics seem to "read" rather than sung and maybe that is where the disconnection ultimately comes from. as its been mentioned before, the vocals are also pretty throaty and while that isn't necessarily a bad thing, i don't think the tone sits well with the track surrounding it. in a harsh nutshell, this genre is not cut out for a thin voice like that and that is where this ultimately fails as for the instrumental stuff, you're doing alright with it for the most part as it reminds me of a mid-90's disney pop ballad ala aladdin but like jay chou for some reason except without nearly the execution. while listening to the original, the major grip was clearly the mixing as it detracted from the audience's attention. however, upon second observation, its clear that the mixing had only covered up the underlying issue of its fringe arrangement. NO

more importantly, HE'S ALIVE!!!!!!!!!!!!!!!!!!!!

i'm fairly familiar with this track as it is actually my first official videogame remix waaaaay back in the original vgmix... before luigi's mansion even. funny enough, i had the same idea as i sent it through a vicious trance beat just like this except with a horribly recorded and EQed guitar blazing above it. this is MUCH more like what i wanted to do with it. i really really like this. i am a sucker for zelda music but i am also particularly more critical of it than i am of any other game's music. this is a good interpretation of the theme and stays fresh despite the beat being recycled the whole way through. yes, we've heard the argument a million times: it is the genre. but really, it is and there is nothin wrong wit it. i agree with TO on a need for a break. that would instantly give the piece much more credibility. it is fine the way it is but adding a moment for introspection would have a similar effect to the one that Disco Dan's Green Amnesia has; ethereal and driven at the same time. all in all, i really like it. YES

i heard this some time ago. i loved it the first time i heard it. still do. it is a fresh treatment of castlevania musik - the transition at 1.37 is sweet. this is funky and dancy. it gets you moving in no time regardless of whether you like castlevania music which, incidentally, i am sick of. but this brings quite a handful of new ideas to the source. excellent instrumentation. the arrangement is killer. love the rhythm at around 3 minutes. look at where it leads next... precisely what i mean about fresh arrangement. more people need to do more of this sort of thing... do something differently than it has already been done. very nice. on to the problem: the treble is killing me. this is not mastered very well. i am surprised as i am accustomed to noppz tracks being of very high quality. doesn't detract from the piece as it is fucking awesome but really, that treble needs to be toned down a bit... those crashes like TO pointed out are vicious. all in all a big, resounding YES

the intro is stale. the idea is alright but the execution lacks. the spot at 1.06 is truly a problem. it sounds unsettling. after that point, i expected the track to go somewhere it ultimately did not go. probably a simple stylistic choice but all in all, the piece meanders about. at this point, the quality of the samples does not help the cause despite my tradition of not trippin too much on instrument quality. you have some good ideas but they are killed by the mechanized instrumentation. also, the ending is too anticlimactic. NO

yes, the vocals are a big issue. for such a beautifully arranged and performed track, the vocals are awkward. i normally have no problem with goofy intonation on vocals as i do it in my own music quite a lot but when the chorus is consistently flat on the harmony, it sort of effectively takes the wind out of the sails. i know you can sing better than this so i'm kind of surprised. it sorta is telling me that this is entirely intentional. in which case, i commend you for being daring enough to do it. reminds me a bit of radiohead as thom yorke loves to do that but i'm not sure if this works here. the rest of this is absolutely gorgeous. you are an amazing musician, friend. i envy your ability to be serene. it is touching regardless of the circumstance under which i listen. granted it is a gloomy rainy day outside and this is gold but still. as for the judgement. my personal bias is that the vocals don't detract from the quality of the piece. i am obligated as a judge to uphold the standard of the site (which has been hard on me and my same stylistic choices in the past so, i have to be consistent). fix the synchronization and the harmonies on the chorus and you'll have yourself a winner. NO

intro is killer this is one of my favorite mixes in a long time. i was chillin to that wicked floydish intro until the main groove comes in and FUNKY. lots of really solid arrangement ideas here. there is only one way to do the mario and you do it. the solo is alive - it moves like a living thing which is sometimes lost. the arrangement is very variable... the ending is nice as hell, too. i agree on the volume - it is a bit intense. but this is a very good mix and very entertaining. good shit, max YES

finally decided to release it in its entirety. i was waiting up on the sketches that go with each song but seeing as how i haven't finished that endeavour, i've decided against delaying. dig it. zykO's Perspektiv

i kept holding off on commenting on this one because i was torn on it. Ironically, i come back to it and i find the track in the same conflict... for one, it isn't fair to judge this with warrior king in mind simply because despite nostalgia's intrinsic value, this is entirely different. all in all, the guitar playing itself is considerably more impressive. it is obvious you got the chops. the question and the problem i have is that the arrangement does not grab me at all. i can judge this unbiasly and realize that there is nothing wrong with this mix... it is produced decently, the drums are pretty weak but nothing so atrocious to have killed it, the guitar playing is great, the arrangement is at least interpretive and as a result, it is good. as for whether or not i was entertained, i have to say that i wasn't however, as a judge, i am compelled to vote on things from an objective perspective. because of that, i am aware that this passes the bar. YES

hmm on one hand, i'm a sucker for zelda music and especially epona's theme. this is very cinematic in that early 20th century sort of way. i feel as though i'm watching a cecil b. demille film... epic and deeply moving. the arrangement is killer - it is intelligently interpreted and skillfully altered. very easy to run out of ideas with a short source material - not the case here. while i hear the issues with the piano, i don't think it detracts from the quality of the piece which is head and shoulders above the bar. while the piano is rigid, it isn't frigid and is still warm enoguh to work for the listener and at least not enough to reject it. aside from the piano, the one thing that really leaped out at me was the intro... it jumps right into it and while i didn't like it the first couple times i listened, i am impressed by it all the same from an unbias perspective. all in all, very good arrangement and a YES for me

dude, why wouldn't we have respect for each other? this is not a respect-related matter. i didn't mean to come across as ridiculing you so for that i apologize i just felt this was a topic that was going wayward and tried to help bring it back onto course. my whole point was that if the man said he didn't, then he didn't - we don't have to play remix police. i have no ill will towards anyone. so in oft-spoken words, its all good.

haha yeah ok, guy

i did not assume anything. i called your defensive reaction perfectly. i didn't assume that you should have known what i was doing ... simply that you are thin skinned and overreacted if i mentioned my "usual dose of edge," i was merely making conversation. don't expect it.

indeed, i am tired of seeing my friends flee the scene so it is a bias issue when i say what i said. however, i am with the djp... a substantial portion of the experience in this scene is rooted very deeply in criticism. the function of the panel, the WIP forums, the tech forums, the review threads... all these migrate to one central intent: the best criticism we can muster to give the aspiring artist. am i upset with souliarc for criticizing dale's track? no. was his commentary innacurate? yes. is that the problem? no. is the total lack of tolerance the problem? YES and i mean it as a resounding YES. as much as i feel for my buddy dale, i also am aware that "quitting" the scene is not the solution either. i know dale well enough to know that it isnt the criticism that spun him off but rather souliarc's attitude which, without a doubt, was annoying as hell. i mean... stop already, guy - the interaction was one taxonomic branch removed from a troll. less filler. more music

it is very important that we all keep this in perspective i absolutely fucking hate to see dale north say that this is why he hasn't submitted music in ages. dale is not only a good friend of mine but a very talented artist who is a significant part of this scene's history. that we alienate people THAT invested is mindbending. the problem isn't the criticism. in all honesty, perhaps what we all need is to work on our abilities to TAKE criticism... having the presence of mind to know that failing at it from time to time is human is a heightened awareness but that does not exempt us from improving ourselves. anyways, this was very good finality to the earthbound project. bound together was driven by the concept of unity and the warmth of friends. it was a pretty prolific showing and i was so very bitter for not being in the right place in my life at the time to have been able to complete my track for it. this track was the perfect conclusion. the music is very good; it, like almost all dale north musik, has that early 90's ballad thing goin on. the vocals come in fairly late and the lyrical portion of the track is very succinct and brief in relation to everything else. i love this... i'm a huge proponent of pushing the envelope even if not very drastically. yes

souliarc, yes i said ridiculous and that is because you are ridiculous. don't try punking me with your clever one line responses - my comment that you should cease your naivete and appreciate the song for what it is, wasn't incindiary but mostly rhetorical and suggestive albeit with my normal dose of edge. your decision to get defensive is entirely yours. even worse, your responses clearly show that you can't actually recognize any of the elements you are goin on about. whereas your initial comment was fair, you continue to question the man's production like you somehow have the tip on something THE REST OF US didn't. your snide remark about the purpose of the thread and the equation of quality is also uncalled for. i am a judge and i believe i'm pretty familiar with what the equation is and what these threads are for, if not more so than you. perhaps you should take morse's advice and learn a thing or two from Dale instead of insisting on the auto-tune issue... ...which again, for the record, was not used in this track

i agree with larry. it is great that you are a family band playin this arrangement. that really is awesome. however, the arrangement is simple as hell. it has almost no discernable arrangement and is actually less effective than the original. the live instrumentation does make it sound a lot more organic than the source and that aspect is entertaining but it needs more meat. as far as playing, its great that you bust out these drums (i dig that) and the guitar playing is on point, too. this needs some direction. it is like a body without a head. it just needs a purpose, a tone, a driving arrangement idea... something to go along with the sheer METAL. which isn't even all that shearing because of how relatively empty it is in the soundfield. not enough layering, not enough changes over the course of the piece. the attempt here is clear to me: there are stretches of this where it feels like i am listening to an early studio demo of a new Tool song but without any of the creative trademarks or the progressive character. in any case. please, please please,,, work on this and give it back to us. this can be very good but it needs a little more work until you bring it back with more bite NO

glad you finally finished this - a year and a half is a long time to work on a single arrangement the arrangement is very close to the original during many stretches. i can't blame you because the source is one of the best pieces of music from that game but still, this is a theme that has been abused over the years and something fresh is most definetly in need. the samples are weak. i am not one to talk as i am guilty of killing good music with terrible sounds. zircon said it best; you can do quite a bit with even the SF2's at hammersound. i suggest lookin into that to help some of that mechanical delivery become more human. in a nutshell, while it is nice to listen to once... it doesn't offer anything that is unique to this particular delivery of it... not in terms of arrangement, orchestration, presentation or in concept. just put more of you in it, work some on the instrumentation and change up the interpretation of the source and you should be alright for now NO