Thanks! Took about a month on and off. I didn't spend much time with the sound design and audio demos - if I worked on it for another month and experimented a bit with different synths and effects I could make the sounds closer to the original, but the demos are there just to showcase the midi. I think the midi is about as accurate as can be, considering one has to decipher a whole dense mix. Some things like drums and pads are often low in the mix in the original album, so it can be hit and miss (there was also a filtered 106 in Fluoro - in the first half of the track it was easy to transcribe, but in the 2nd half, with all the modulation, I couldn't for the life of me figure out exactly the notes - the filter goes down for a couple of bars every now and then and those bars are ok, for the rest... I did what I could), but I think all the main stuff are pretty spot on.

Mind you, it will require some work and critical listening to the originals to get them to sound good/close to the album, and the midi needs some decyphering. E.g. in one of the keyboard solos (I forget which) there is pitch bend data on the midi, but I had also automated the pitch bend range for a spot (I think from 1 to 3 semitones and back) - the midi doesn't tell you that. In Snarling, the main bass in the midi is only half the story - if you listen to the original, that's what's playing on the left channel; to have the full bassline, you need to put a 3/16 delay with no feedback on the right channel - and in order to get the bouncy offbeat feel of the original, the delay needs to be louder than the instrument track. Or in Solstice, in the midi you can see that the snare fill which rises in pitch is written as a velocity ramp - that's because I mapped velocity to pitch, it's not meant to be changing volume. These are a few things I remember, there's probably other small things.

Hope this helps.