Mega Man X: The Sigma Fortress Remix Gauntlet 2015

[Jorito]

I pledge to make my kicks twice as clicky.

You are aware it's called a kickdrum, not a clickdrum, eh?

[Garpocalypse]

You are aware it's called a kickdrum, not a clickdrum, eh?

 

It's not overdone to the point of it being abrasive but one of those things where once you notice it you can't stop noticing it.  

[Gario]

I liked the clicky drums, personally.

[The Hiryuu]

I pledge to make my kicks twice as clicky.

 

It'll take four times the clickiness to compete with death metal. It ain't clicky enough until you think it's popcorn popping.

[KingTiger]

Yeah actually my complaint with the drums has nothing to do with the clickiness :/ I think they sound good that way in your track.

[timaeus222]

Really great round, guys!

 

Reviews:

 

bLiNd ~ Arsonist

Really solid work here, and out of all the EDM tracks in this compo so far, the best production. My only production gripe is that the lead guitar felt like it stuck out of the soundscape for some reason; I think it was the reverb design and midrange EQ that did it. The arrangement was fairly predictable, but there were lots of subtle variation details. The incorporation of Doppler felt kind of "shoehorned in", so a decently-cohesive but well-executed track.

 

Cam3 ~ Tiger Millionaire

Cool concept. I get that you were going for kind of a grungy, techy feel. The production needed work in the Master track processing in that the whole track felt quite overcompressed whenever the drums played. The main drum samples also felt rather tonally weird, moreso the kick than the snare. I thought the sources were fairly well-integrated and personalized to the style.

 

GrapplingHook ~ Arma Gonna Topple That Dopple v0.1

Not too shabby. To me the tempo felt a bit slow for what you appeared to be going for (not by much, just maybe 4~8 BPM). At 0:43 - 0:56, it felt like the lead was meandering. The production is alright, but could be better. For example, the intro guitars had quite a bit of reverberation in the treble frequencies, which isn't really audible once all the instruments come in. I find that the upper treble frequencies get cluttered fairly easily, and even the smallest EQ edits up there could help. Also, the drums felt fairly clean/uncompressed, and some controlled distortion and careful compression could have strengthened the tone of those drums some more.

 

WillRock ~ MMMDop

Dat title; what, X3 = times three, and so Mega Man X3 -> Mx3 = MMM, and then Dop? Aight, anyways, this arrangement is clearly exceptional. Loving the chord progressions throughout, especially the ones at 2:28 and 2:48. The wicked solos also weren't totally terrible (in other words, they were awesome). On the production side, I thought the midrange was a little bit cluttered with regards to the backing instruments (those could have used some slight mids scooping), but it wasn't a big deal to me. That shift to minor at 3:16 was also genius. Based on the chord progressions and crazy solos, and the solid production, this is pretty awesome.

 

Tuberz McGee ~ I Don't Run At All

Right off the bat this feels a bit quiet, but that's not too hard to fix, right? Some small crits of note: At 0:19, I can hear you make a noise with your mouth that you could have edited out, for example, and some of the fricatives and sibilances on the vocal takes don't line up to such an extent that I would call them "tight" (such as 2:13 on the "st" in "style"). And then there's the lyrics; funny, but perhaps a bit overdone on the frequency of usage. I get that that's your theme, so to speak, but I kind of anticipated cameos more so than repeated usages. I thought the rock part was fairly straightforward, and my favorite part was the acoustic outtro. The drums are serviceable, though they could be a bit stronger via some controlled distortion and careful compression.

 

Garpocalypse ~ Is é mo aingeal imithe

This was a refreshing vibe to hear amidst the more electronic tracks I tend to hear in compos. It sounded Irish to me, and I actually sang lots of Irish music in high school, so that's cool. The production is fairly clean, aside from the amount of reverb on the distant choir that shows up every now and then, and my main concern is the amount of repetition in the track. By about 3:07, I start to crave more variation in at least the textures, and if not, at least the chord progressions, or even the melodic contour. Maybe a stark left turn into a mood shift, or something new to keep us interested. I think after you incorporate more variation or eliminate repetitious areas, it's a pretty good candidate for OCR.

 

Gario ~ Red Shifting Drift

This could have been one of my top picks, actually. The lead sequencing was excellent, and the drums, while fairly generic tonally and in terms of the sequencing, are serviceable. My main gripe with this was actually the pad/synth choir you had going on, which had quite a bit of reverb and made the whole track feel a bit overly washy (the one exposed at 2:28). The sources were pretty well-integrated too.

 

fxsnowy ~ Thermoception

The intro literally felt like an X-style stage-select theme. HAH! The drums were fairly serviceable tonally, but they didn't seem to fit the mood I thought you were going for. If you wanted to go with that drum kit, I felt you needed a wider bass (even if by just a bit). The bells were pretty loud and lacking in velocity variation (such as at 1:24). I also thought at 0:46 - 0:48, the notes were rather weird, and there were some other spots that felt weird with the melodic contour and/or chord progression, such as 1:25 - 1:26, 1:36 - 1:37, and 2:13 - 2:14. My main issue with this is that the bass frequencies feel fairly bare, leading me to perceive a bit of textural sparseness overall. I realize that you actually have a bass, but it was written staccato for a good chunk of the track, so there's not as much of a "foundation" beneath the other instruments wherever it feels more fit to parallel the action of the bells and pads that each had long releases (ADSR). That really comes down to the flow of the way you wrote the bass, so I realize that it may not be an easy fix.

 

Shadix ~ Winter Weather Advisor

I see you were going for a Jazz Fusion feel. I think that tonally it worked. I enjoyed the less busy parts the most! One of my three main concerns with this is that in the spots where the drums are busiest, they feel conflicting relative to the other lower-energy instruments. Perhaps if the writing in those spots was lighter (such as using primarily overhead and not writing such hard hits), even if nearly as busy in terms of the rhythm, would feel less busy overall. My second is that there is a bit much reverb on most of the "primary" instruments. For example, the sax could have a higher low-cut cutoff frequency on its reverb to minimize low-mids reverberation (the character of the reverb is fairly perceivable at 3:07). My last concern was that the overall track feels overcompressed, but you knew that. I would check the Attack and Release on FabFilter Pro-L, and experiment with the Attack, Release, and GR settings on the LA-3A compressor emulation.

 

DusK ~ Just Give Me a Minute

Fun metal track! Sounds "like you" (easily identifiable as something you wrote). Rather short, though; to me it felt like it could have been longer, based on the arrangement flow, but that's alright. Fairly solid production, and I wasn't bothered by the clicky kick. I forget if that's FPC or something else.

 

Cash ~ Dark Times, Happy World

To me, the arrangement felt rather forced, and the stereo field was strange. I personally have (almost) never auto-panned a bass or anything having low-mids frequencies, because it tends to feel weird doing so. The people I know are so used to bass being centered (typical) or wide (dubsteppish). The overall soundscape also felt sparse, and lacking a chordal component; you seem to have tried to make up for it with reverb, but I think it would be more helpful to write chords. Lastly, the ending note tail needed to last in its entirety before the track ended, and it's an easy fix (just add an empty/silent clip at the end of the track, perhaps).

 

jnWake ~ Beetle Dopplerganger

The arrangement was really fun, and my favorite part of this was the chord progressions you used. The solos were quite nice too, though they could have used a synth tone that had more body to give them more of a commanding presence. The rhythm guitars were fairly straightforward but pretty realistically sequenced/MIDIed in. I don't think the lead guitar was really lacking realism, per se, but the execution of the performance emulation wasn't as impressive as a real person playing the same notes, and was lacking the variation in playing style that a real person would naturally incorporate out of human tendencies to not play the same thing the exact same way each time (even if it was written that way on sheet music). Overall, based on the chord progressions and pretty good solos, I think you should continue polishing this track in the guitars and solo synth tones and submit this sometime to OCR.

[jnWake]

I'll continue timaeus' reviews, but focusing on Round 1 first:

 

Wanderforce: Production here is great. I'm not much of a dance/electronica/whatever this is called guy but I dig this. I really like how the pads sound. Regarding the arrangement, I can very easily identify the Antonion usage but Palace Ground (while identifiable) felt underused in comparison. In any case, not much feedback to offer here since this actually sounds pretty great (maybe a tad too long though? haha).

 

Magma Flow: Soundscape feels very sparse in the intro. Probably intentional but it felt a bit boring. Well, actually, not much happens in the track in its entirety... I feel the arrangement lacks variety since the same beat with the same background and slightly different leads gets a bit tiring quick. Production-wise it sounds good if a bit unbalanced in volume terms (percussions are pretty high).

 

Rolling: There's something about the production that feels a bit muted here, a bit hard to explain. It fits with Walrus' theme so maybe it was intentional though! Anyway, this is the first appearance of vocals this round and it's great. Harmonies sound good even if the voices seem a bit tired. I also like the integration between the two sources, very clever and nicely pulled off. Not a big fan of the glitch effects in the voices, don't feel they add anything worthwile tbh. I enjoyed the bass too, nicely played. Some notes and chord progressions in the 2:17 sectin sound a bit iffy but nothing too major. Great job overall!

 

Smoothlike Fellow: I can barely begin writing and this is over. Sigh. The E. Piano and synths sound nice but not much happens in the track sadly.

 

My Beerly Beloved: Nice mood in the intro. I'd have honestly changed the last chord of Blizzard Buffalo's theme and let it stay in the previous rather than following the source to perfection, feel like it would have sounded better for the mood. Voice is pretty cool here too, the effects made it sound dreamy and chilly. Source integration is pretty good here too. Great track!

 

Electric Moves and Cephalopod Grooves: This is way more calm than what I was expecting from SuperiorX, especially with a rocking track like Volt (or Volk?!) Kraken. I don't really like the bass patch used in the song sadly, it lacks punch. Overall I feel the track is a tad too slow (and short!). Source usage is pretty good though.

 

Toxic Seas: I like how the song gains energy near 0:47, very welcome. As pointed out before, the kick is lacking presence, which is key in this kind of music. Snare is also a bit tame. The soundscape gets a bit cluttered near the 2:00 mark with too much stuff going on. Arrangement-wise, Seahorse usage is very very straightforward and Palace Ground is barely there (is it even there? haha). I feel you could've experimented more.

 

Firefly: Intro is sweet, a pretty smart use of Hotarunicus. Production is pretty good (and loud) although I don't like the sound of the hats, seem low quality. Some of the melodies from Palace Ground seem a bit forced here but besides that source usage is good if skewed towards Hotarunicus. This was a strong contender for my third vote, especially for how groovy it is haha.

 

Hidden in the Palace Grounds: Intro is so weird haha, feels like playing some old PC game. I'm not sure what to offer as feedback. I'm not big on melodies being so focused on low tone instruments and the arrangement doesn't have much direction. Production is pretty clean though and it's easy to identify both sources.

 

Bounce Too High: This track stands-out a lot this week! Nice groove at the intro. Synths and bass are damn good too. I really like this track, it's pretty fun and entertaining. I'm a sucker for slap tones. I have to wonder why you didn't ask me to play the synths though (my excuse for not asking anything was being sick btw)! Very nice one.

 

Sigmandrill Palace: This has potential but seems super rushed. Mood is cool and the weaving of the sources is interesting, shame it's so short.

 

Sorry if I sound mean or too nitpicky, I'm trying to be as honest and helpful as I can. I'll post Round 2 impressions later.

[SuperiorX]

Two thoughts today: 

1) I really missed an opportunity with the name of my Round 1 track. Totally should have named it "Electric Moves and Symmetric Grooves". It would have rhymed even better and still would have fit the theme, given that squids/cephalopods are bilaterally symmetrical. Oh well.

 

2) Will, your track sounds nothing like Hanson. I am disappointed.

 

 

Electric Moves and Cephalopod Grooves: This is way more calm than what I was expecting from SuperiorX, especially with a rocking track like Volt (or Volk?!) Kraken. I don't really like the bass patch used in the song sadly, it lacks punch. Overall I feel the track is a tad too slow (and short!). Source usage is pretty good though.

 

Way more calm? Hmm, I make a lot of chill jams.  I'd say this is somewhere in the middle between upbeat and chill And yeah after I made it, I thought I could have bumped the BMP up a tad. Also didn't have any time to make the arrangement longer unfortunately. Thanks for the comments!

[Tuberz McGee]

Tuberz McGee ~ I Don't Run At All

Right off the bat this feels a bit quiet, but that's not too hard to fix, right? Some small crits of note: At 0:19, I can hear you make a noise with your mouth that you could have edited out, for example, and some of the fricatives and sibilances on the vocal takes don't line up to such an extent that I would call them "tight" (such as 2:13 on the "st" in "style"). And then there's the lyrics; funny, but perhaps a bit overdone on the frequency of usage. I get that that's your theme, so to speak, but I kind of anticipated cameos more so than repeated usages. I thought the rock part was fairly straightforward, and my favorite part was the acoustic outtro. The drums are serviceable, though they could be a bit stronger via some controlled distortion and careful compression.

Thanks for the crits d00d. 

I'd be really keen to get some more in depth thoughts on things like distortion on the drums. Never really applied distortion there but it sounds rad. 

As for every other crit, I pretty much expected that. Busy week + Channeling too much Rick Astley = A Bad Time For Everybody Ever

<3 

ily babe xoxo

[Troyificus]

It'll take four times the clickiness to compete with death metal. It ain't clicky enough until you think it's popcorn popping.

 

Agreed x 1000. There are some death / black metal albums out there that sound like the drumkit has been replaced with a selection of biscuit tins. Cradle of Filth's 'Cruelty and the Beast' is an excellent example.

[timaeus222]

Thanks for the crits d00d. 

I'd be really keen to get some more in depth thoughts on things like distortion on the drums. Never really applied distortion there but it sounds rad. 

As for every other crit, I pretty much expected that. Busy week + Channeling too much Rick Astley = A Bad Time For Everybody Ever

<3 

ily babe xoxo

=D

 

As for distortion, I suggested that since certain methods of distortion strengthen the strongest harmonics of a sound. I tend to use overdrive or waveshaping (I like Fruity Blood Overdrive or Fruity Waveshaper); if you apply overdrive or waveshaping to drums (carefully, to avoid getting an overly-clipped tone), I find that it can bring out characteristics of the tone you may not realize are there on the clean sample. Since those characteristics that are most noticeable are the strongest harmonics, and one of these is for example, the fundamental, it'll add punch.

[KingTiger]

I recently read an article on how on of the Beatles' producers added some distortion to Ringo's drums, it's definitely a good effect to use (tastefully) on any kind of drums.

I personally have started using CamelAudio's CamelCrusher plugin on just about everything, especially drums. It's a compressor with distortion effects built in that can be used subtly (or not, according to taste). It used to be a free download but the company shut down, if you want a copy I can provide you with one.

[Garpocalypse]

Ditto to the drum discussion.  I almost always lightly saturate the snare and if I split the kick drum I usually saturate the top end of it.  Most of the time I'm using the one that came with Sonar but there's a really good one here from Variety of Sound called Tessla SE.   I would also recommend their console saturation plugin Tessla Pro if anyone was looking for one.   

 

https://varietyofsound.wordpress.com/downloads/

[timaeus222]

I tend to recommend the dual-band compressor endorphin as a post-distortion compressor. It really brightens up my drums whenever they are lacking the presence I want them to have. One note I should say though is that if you use both distortion and compression, just be aware that compression affects the strongest harmonics most, and distortion strengthens those strongest harmonics most noticeably, so using both for the same instrument may come down to thinking more methodically about how you want to go about it (otherwise you might overemphasize the click of the kick, for example).

[Garpocalypse]

I tend to recommend the dual-band compressor endorphin as a post-distortion compressor. It really brightens up my drums whenever they are lacking the presence I want them to have. One note I should say though is that if you use both distortion and compression, just be aware that compression affects the strongest harmonics most, and distortion strengthens those strongest harmonics, so using both for the same instrument may come down to thinking more methodically about how you want to go about it (otherwise you might overemphasize the click of the kick, for example).

 

Not really sure what you mean by "strengthens the strongest harmonics".  Saturation brings out weaker harmonics and evens out the overall signal. The more you use the closer you get to noise which has equal energy across all octaves.   

[timaeus222]

Not really sure what you mean by "strengthens the strongest harmonics".  Saturation brings out weaker harmonics and evens out the overall signal. The more you use the closer you get to noise which has equal energy across all octaves.   

Well, overdrive/waveshaping strengthens all of the harmonics until they all reach a ceiling (at which point a sine wave begins to look more like a square wave), but the strongest harmonics are most easily audible, so the change in the character of those tends to be noticeable first (in other words, they reach the ceiling first). So, if those harmonics reach the ceiling, and you increase the overdrive further, the strongest harmonics then clip first.

[SuperiorX]

Well, overdrive/waveshaping strengthens all of the harmonics

[Yami]

 

Power noise for everyone!

[KingTiger]

Power noise for everyone!

I believe the term you're looking for is "speedcore"

[shadow24]

Anyone have any good recommendations on industrial drum kit sound libraries? I think that is the style I want. Below is a music link that has the drum feel I'd like.

https://soundcloud.com/wizaz-1/legend-of-legaia-mist-generator-fortress-2

[Tuberz McGee]

Thanks for all the drum tech info d00ds. 
I'm definitely gonna look into some of that stuff.  

so i just put a distortion and compressor on the master bus right (???)
ratio = inf should be good right (???)
thanks 4 the compreser tips

[timaeus222]

Anyone have any good recommendations on industrial drum kit sound libraries? I think that is the style I want. Below is a music link that has the drum feel I'd like.

https://soundcloud.com/wizaz-1/legend-of-legaia-mist-generator-fortress-2

Have you tried Impact Soundworks: Reforged? They sampled found metal for Kontakt 5.

[Anorax]

Have you tried Impact Soundworks: Reforged? They sampled found metal for Kontakt 5.

Seconded.

 

[Reserved for future updates on remix for this week]

[Pavos]

Here are my reviews! Sorry for me being harsh, but I'm just being honest - please take no offense. And it's just my opinion so who cares I wrote them as I listened, so it's real-time feedback so to say

 

Arsonist - bLiNd:

Nicely setting the vibe and building up the energy. Huh, didn't expect the dubsteppy rythm afte that build-up. But it works I guess. Nicely done with the Flame Mammoth theme, although rather straightforward. The second part of the Maverick theme features some different chords, I liked that. Doppler theme doesn't blend too well with the single bass note I think, especially the end of it. It's missing some energy I think. Flame Mammoth is, again, nice but a repeat of what we heard earlier. 

 

All in all, nice mix, the vibe and energy are great, but the writing isn't that creative and the two themes feel too distinct. 

 

7.5/10

 

Tiger Millionaire - Cam3:

Oooh I like that intro! Drums seem very buried or overcompressed. And the high frequencies aren't too pleasant to listen too. Starts off with the Neon Tiger theme with some varying background instruments. Dissonant piano around 1:25 don't work for me. Guitar doesn't sound that good to me, since the rest had a very reverby feel (yeah I suck at technical terms, sue me ) - which is too bad, since the transition to Doppler was very smooth. Transition back to Neon Tiger is very smooth aswell.

 

Nice mix, with some smooth transitions between themes, nothing too creative. Some production issues here and there.

 

8/10

 

Arma Gonna Topple That Dopple v0.1 - GrapplingHook:

This sounds rather MIDI-ish, sorry bro Timing isn't too consistent and you seem to switch in to a cpmpletely different key with the melody at 0:40 (while keeping the background chords the same I think). The Armored Armadillo theme doesn't seem to blend in that well. It's (obviously) rather short as well.

 

The laid-back version of the Doppler theme is a good idea and works; too bad it's (probably due to time constraints) really lacking in production and the armored armadillo part is not well executed

 

4/10 (sorry dude, no offense - honesty makes for better mixers in the long run )

 

MMMDop - WillRock:

Hahahah that intro! Fucking epic. Those drums sound a bit weird though... Ah when the guitar comes in... Dude you are so good at building up songs with layering instruments. Although, I felt that before the 1:00 mark the "carrying" instrument should have already entered (hey, I need SOMETHING to critisize). Creative writing with the Doppler theme. I wasn't overly familiar with the Slash Beast theme (SNES fanboy, whatyagonnado? Also, didn't own a PSX), but it's a real compliment that I din't recognize the switching of themes the first time I listened to your mix. You really mixed them well; I especially like parts like 1:20, where the themes are intertwined. Bridge is very well done, building up tension and atmosphere. And guitar solo's with chiptune ladders <3. Nice variations in chords arend 2:30; and nice switch of vibe and improv afterwards. DUDE STOP DOING STUFF LIKE THIS IN ONE WEEK. Very much improv at the end, but still keeping a dynamic vibe and adding new stuff. Ending is a bit weak though, since there is none - it just stops.

 

Conclusion: this sucks, worst mix ever

 

9.5/10

[Pavos]

I Don't Run At All - Tuberz McGee:

Jumping right into the action at the start of this mix. Organ sounds a bit fake to me and too buried. Ooohhh vocals. Oh, some harmonies are off. Mixing is very muddy. Timing sounds off at some parts as well. Nice adaptation from Crystal Snail, transitions into Doppler well. I think there is not enough variation in the chorus parts in the background, needs more dynamics. The accoustic ending is nice, but the transition is a bit sudden. OH GOD RICK ASTLEY - niccce.

 

A bit of the opposite of bLiNd's mix imo: lacking production in many places, but some creative writing.

 

7.5/10

 

Is é mo aingeal imithe - Garpocalypse:

Wow, interesting choice of genre - kudo's for doing this! Themes are very well rearranged so that they transition very smoothly. Some timing is a but off, and the accoustic guitars have a bit too high freq (or something, something sounds uncomfortable). Oh, I very much like the subtle "aaahh's" on the background. Gets a bit repetitive at the 3-minute mark. Ah, nice variation at the 4-minute mark; piano sounds a bit buried though. Oh, the sudden rise in volume at the transition is too much in my humble opinion.

 

Creative writing, but for rearranging the themes in a different genre, chords and sturcture, as well as meshing them together and your original stuff. It drags on a bit at places and there are a few production issues - but this is an arrangement contest primarily so I'm overlookign those a bit .

 

8.5/10

 

Red Shifting Drift - Gario:

This is my favorite theme, so you better do it justice Oh, nice blending of themes from the get-go. Again here, I think the synth frequencies are a bit too high. I really like your writing of the themes, they mesh very well together! The mix loses some energy at the 1-minute mark, which I think is too soon. Even moreso at 1:20. The synths with the alternating panning are very difficult to really make out, I think you should have done such a hard panning (and perhaps decreased them in volume a bit, they distract a bit). Nice blending of themes at 2:50. 

 

Nice writing, but really: the alternating synths gave me a bit of a headache (due to volume, frequencies and hard panning)

 

7/10

 

Thermoception - fxsnowy:

That intro sounds like a que from a sitcom or something you've established a very smooth groove, while you also kept the ominous vibe from the Dark Necrobat theme, nicely done! Oh, I like the writing at 1:25 - feeling very creepy but clearly the Doppler theme, I'm impressed! I don't like the synths panned to the right, since there's nothing on the left to compensate. The dissonant notes in this vibe I think. Enough variations to keep it dynamic, but still keeping the overall unconformatable vibe.

 

Good mix, excellent in having the creepy vibe from the Maverick theme while focussing on the melody from Doppler - and putting some nicely smooth grooving sauce on top of it.

 

9/10

 

Winter Weather Advisor - James Sutton:

Those brass instruments sound fake to me, and something's off with the timing there. WOW, so much reverb. Things get veryy muddy very fast because of it. Seriously, what's going on here? This is partially due to the effects you're using. I'm getting the vibe you're going for here (I think - fast paced jazz, very dynamic with many changes throughout), but it just isn't perfectly executed and results in chaos. Nothing to creative with the main melodies either.

 

Too much chaos; good ideas, but not executed really well - which is killing in such an approach

 

5/10 (again, I don't mean to offense)

 

Just Give Me a Minute - DusK:

 

Ahhhhh too much noise going on at once! Again - what the hell is even going on here? Start of the rest of Storm Eagle is very sudden. Meshing of themes doesn't work and the timing seems off throughout the mix. Time constraints I guess?

 

Writing doesn't work that well, and everything is chaos. Productions isn't that good eith, unfortunatly

 

3.5/10

 

Dark Times, Happy World - Cash:

Fair build-up, but the beat feels a bit bland - a shame since this is a minimalist mix. Transition at 0:50 doesn't work that well I think. Doppler adaptation at 1:20 is nicely done. Transition works better this time around, but the themes still feel to distinct. I'm also missing a clear structure in this mix.

 

Mix misses a clear structure, and the themes do not blend together that well. Beat needs to be better in this genre I think

 

6/10

 

Beetle Dopplerganger - jnWake:

Right from the start, the meshing of themes become clear, very nicely done! Really pays of when the lead sets in at 0:40, although it tends to drag a bit on at around 0:55. Transition to the next part feels a bit too sudden, and the lead at 1:15 feels diconnected genre-wise.Moreenergy coming in at 1:40 which is a good thing - the mix needed that. The background chords/piano/guitar are, however, too repetitive - they really needed a change in rythm. Thus, the mix drags on a bit and takes some energy away from the lead writing I think. Ending is a bit abrupt

 

Started off really nice, but lacks variation and dynamics, which makes it drags on quite a while

 

6.5/10

 

Tropical Relaxation Method - timeaus222:

Zero Tolerance you say? Oh, instant 10/10! Fine, I'll give a proper review: Ok... interesting intro... Could be very awesome if it pays off HAHAHAhaha, this is straight up DKC style! Awesome stuff tim! Didn't expect this from you to be honest; but it's executed nicely! Really, I can't stop thinking about DKC The Doppler theme is very buried however, it's there but it seems more like an a very original adaptation of Cyber Peacock with some bits and pieces of Doppler if you're paying attention.

 

Very awesome vibe, very creative writing, but I'm missing the Doppler theme (and thus the bledning of themes) too much

 

8/10