The sea at night reflecting the silver moon kinda strikes me as a great, tarnished pool of silver. More importantly, there's some hurdy gurdy in this thing.
"With the last of the grant funds, we've corrected the calculation error which resulted in Attempt 748's catastrophic backfire. 749 will be the final iteration, be it a success or otherwise. To inspire some confidence in the team, and to protect my pride should it fail, I will use myself as the subject of this, my 749th experiment in wormhole production."
Arrangement of Ikana Castle, From Legend of Zelda: Majora's Mask.
I've had a midi of this lying around for a while, waiting for a chance to give this piece a spin. The castle in game has long since fallen to undeath, its kingdom deteriorated and still. I wanted to capture some militant grandeur while mainly clinging to the grim, haunting nightmare of the undead halls. The piece is named for the undead king's gift to Link after being bested by him in battle: "I grant to you a soldier who has no heart. One who will not falter in the darkness."
Something of a more dramatic arrangement, loosely inspired by the music of Sekiro and Monster Hunter Rise. Trying to flow between dark and bright, much like how the game has the overarching theme of light being restored. Had some fun with instrument effects, wish I had better control over the shakuhachi vst.
I must have done something horribly wrong in mixing, couldn't get the volume right. Still. An ensemble of Japanese instruments, gongs, taiko drums, and some choirs. I was largely inspired by the harp part of the source, it gave me the impression of the hero's departure from safety and familiarity to answer the call of destiny in the dark of night. Which, incidentally, is how the game started.
Tried something completely different: a piano solo, which forced me to try making an expressive and believable performance. Makes me wish I spent the time to learn to play the piece. More effort than usual on dynamics, individual note velocity, and some mild tempo work. My working image was a pianist practicing in the cathedral, becoming a little more reckless and forceful over the course of the piece.
PRC goers: Cool, a rockin' source!
This remix is made for Flame Mammoth's stage after the player has beat the ice world boss, which (for whatever reason) causes the molten magma factory to become frozen over. I tried to liven it up with a more faithful section, but it just didn't come out right. So enjoy the source slowed down about 60 bpm with sad strings, piano, and crotales.
Barubary is an impressive SNES era villian, a demon with honor whom lets the main character choose to fight him with his allies or alone. This is named partially as a pun, and to signify that I would so totally try to solo this boss.
More importantly. I used Mega Man X soundfonts, which I've been experimenting with for a while. Elongated most ideas in the song, expounded on the bass and screaming synths, variated the melody with plenty of longer notes in there, and some pitch bending fun. The source feels more complete now, methinks.
I mixed 5 instruments from 5 different countries; Washburn guitar, Shakuhachi, Yanqpin, Uilleann pipes, and a middle-eastern string ensemble. I like to think it tells a story of the wanderers gathering and traveling as one in the mutually strange land of life's journey.
Mixed both sources individually and squelched them into one MP3. Bit hefty of a listen, but I wanted to tackle 'em both.
-"Soaring Circuitry": Synth-lovin' take on Chrome Gadget. I'm as good at classifying this stuff as I am making it, but had fun playing with some different synths than usual.
-"Claimed by the Deep": Sector 4 dominated by strings, pads, and a pan flute. I sum it up as thus: It was not the darkness below which claimed her, nor the depth nor the terrors, but the splendor.
My initial opinion is that there are more wheels than doors, but since there's no practical way to test this, nor reason, here's a little symph-rock thing with a surprising amount of restraint. Wanted to capture wheels with the arpeggios and fast bass, then doors with slower long notes.
This turned out kinda weird. Was trying for some big ol' chords with those strings I always use, then slipped in a couple synths I sorta like to capture the electricity of light bulbs, and, well, we got something. Was more looking at the stark lighting of the 2nd image than the water, shoulda added more wet reverb to justify it. And definitely should have tried making the chords all in one track first to better hear it. Eh.
Or perhaps more accurately called "Strings and pipes for nautical theme." Tried a bunch of ideas which sort of turned into a whole tale of the journey across the sea. Uncertainty, adventure, tribulation, sorrow, loss, and perhaps more. Let me tell you of the voyage.
Having trouble setting up an alt thasauce account to submit this, so I'll just dump it here. A burgeoning (bludgeoning?) mix of Blood Drain using a Mega Man X soundfont. Cheers.
Song uploaded by Bundeslang. Artist is Souperion.
Remix of Zero Wing's 2nd Level, "New Day For Me." You know, that game that created the AYB craze back in the early 2000s.
More importantly. A mostly synth take on the highly energetic source. Was going to try a symph rock thing, but that died and left the strings. I probably made some glaring mixing errors, but had some fun.
The theme of Gwyn, Lord of Cinder, as a sort of bardcore thing relying heavily on a washburn guitar and harp. Aimed to capture some mystique and longing of a doomed, dead age. And there's a bit of wordbuilding vocals I tried:
Plin plin plon, plin plin pling plin plon
Plin plin plon, now the world is gone, fade to ash
Plin plin plon, now the world is gone.
Kind of reminiscent of having vocalists make sounds to imitate an instrument and a direct reference to how the Dark Souls fandom refers to the sad first 3 notes of the song as "plin plin plon," as the original was a piano solo.
Bit of a hack job, but I used exclusively chinese instruments for a slower afternoon walk version of Dragon Road. Impersonator syndrome is strongest when I try using exotic instruments in what I imagine to be their intended styles, but heck with it. I had some fun.
Mostly Forest Labyrinth with a touch of some tweaked Rosenkranz that Wassup T helped me make. This song has long been one of my favorites, especially thanks to old OCR remixes by TheWingless (Rosenthorn and Scarlet Halls of Night.)
Pan Flute takes the lead in a sort of forest fantasy arrangement with my go-to strings, taiko and frame drums, and choirs. I actually had to play the piano solo and edit it to be in time with the rest of the piece. I only wish I had time to do Rosenkranz in its entirety.
Weep not for the days bygone, but be glad that they were.
Had a tune in mind for a couple days, largely inspired by Kirby's Epic Yarn's "Flower Fields," and this theme made me nostalgic enough to plug in my midi keyboard and bludgeon ya'll with my single-take piano skills*. Enjoy hearing me stumble through my attempt at an expressive piece.
Actually looked up dyson spheres for this one. The notion of encompassing a titanic stellar object to harness it's power is mind boggling. More relevantly, I recycled some notions from an older OHC which pictured hands holding cosmic stuff. Slowed down to about half speed, the stellar force is caged and sullen.
Attempted something more atmospheric than usual with far more automations and effects than I tend to use. I wanted to touch on the unearthly mood this song accompanies, an ancient ruin haunted by a force from the underworld, drawing local townsfolk into it under a possessive curse. Used Tibetan singing bowls to create a ceremony or ritual feeling along with the koto and shakuhachi. And I had to add a gamelan to match the original sound. The chanting is a favor from my sister, who speaks Japanese and was willing to recite a haiku by the ancient Japanese poet Bashu:
Getting sick on the journey,
my dream runs about
the desolate field.
Hence the name.
Some times, I need to do rich orchestral strings. And some metal tuned perc and other things. The dynamics aren't what I'd like 'em to be, but the ideas are there.
My take on this is inspired by the main character of the game, Marche. Transported into a fantastic world where he is suddenly capable and important, he has the strength to see it for the fiction it is and desire to return home, even if it means dragging his friends and family back there too. But the lessons they all brought back with them made the real world so much more than the fantasy.
A tired trainer reclines on the park bench while poke buddies frolic. Ah, youth.
Ended up with a sort of rhythm between somewhat lively peace and energetic activity. And an entirely different instrument palette which I won't even try to place in a genre. Thought it was worth the experiment.
Inspired by symphonic metal by bands like Within Temptation and Delain (but European sopranos are too expensive). I was trying some actual EQ work to blend the busy soundscape and let it boom out a bit better (you be the judge.)
Takes it's name from the U.S.A. army motto (This we'll defend). Straightforward, trying to be epic and courageous without breaking sound thresholds.
A multi-pronged title. For one thing, the arrangement and mechanics feel a bit sloppy. More relevant, the song went rather different than I expected. Set out to make an apprehensive, spacious piece to capture being lost in underground ruins full of monsters. The piece kept devolving, perhaps reminiscent of the darker elements of Undertale. Oh well, I had some fun with it.
First song I've ever used multiple apostrophes in the title of! When I first heard this delightful song, my mind wandered to a sea shanty of sorts so I busted out the hurdy-gurdy samples, laid out some droning bass, and this happened. It's a bit slower than the source, but I tried to keep the melody and such faithful so I could focus on better mixing. Maybe it worked. At any rate, hopefully some of it sounds good.
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