Mouse started dying halfway through, and my sisters gecko went on the run at last minute. Hope this makes it in time!
"Man in his dwindling mortality, turned with vain hope to the eternal dragons from the time before flame, hoping to transcend the endless cycle by taking draconic form..." --Miyazaki, probably.
Been playing Elden ring and Dark souls, and thought of the reoccuring pursuit of dragonhood and its supposed immortality. But such unnatural evolution brought only agony and regret... As the ending will articulate.
Tune into the cassette player of my mental soundtrack! The source made me nostalgic of my early compos, and I tried something very experimental, trying to replicate the experience of hearing parts of my old compositions behind a gentle tune. Trying to replicate a mental lounge of my memories playing on a distant radio. Since this is a first, the mixing on both the new melody and the audio clips is sophomoric at best, but hope it's just not-cacophonous enough for the concept to be appreciated!
Been playing lotsa Mass Effect and had spacey synth orchestras on my mind. Then stumbled upon some chords that reminded me of Halo, and ran outta time to finish an idea I had, but got enough to at least end somewhat satisfyingly. Really got into some cello staccato chords.
I dont know how to classify this kinda music, plz help.
I worked on getting a lower intensity style than my normal compositions. I aimed to use less instruments than I normally do, keeping drums, a piano, bass, and cello as the primary backbone of the arrangement. I had fun tweaking each section of the song and extending them. I think I got some relaxed atmosphere for parts of this, and was good for me to do some simpler stuff.
DONT VOTE FOR THE BONUS.
Since I've remixed this source before, I opted to try some new things and attempt something inspired by my limited experience with EDM/Trance/techno like music. Wanted to get some of that deep, bass-rich composition style that I kinda like, but am not familiar with composing. So this was experimental for me, but I think I learned some things.
Decided to go solely symphonic elements for this, so I busted out my strings, brass, and choir. And timpani. I love timpani. This basically runs the song twice, the first as a pretty faithful articulation, then reprising it with some more intensity. Nice mental imagery of a purple dragon running and flying through the night.
I took inspiration from studying the final boss of Breath of Fire 2, and wanted to capture some of the grandiose and wicked pomp of the source. I also wanted to instill some more overtly evil sounds to it to fit being a demonic final boss.
The composition starts low and ominous with chapel instruments setting a tone of profane worship. The harpsichord and organ speak of the sanctimonious Death God's promised bliss of oblivion. This facade falls as the battle begins, and I bash the composition over the head with (you guessed it) drums and guitar! I tried to keep the choirs the primary melody through most of it to keep the pseudo-religious tone. Did some chromatic variations and other twists to get some more EEEEVIL feels. My mixing/editing wasn't as solid as I'd like, but I was pretty pleased with most of the composition.
Loosely inspired from stuff I could remember from a tutorial about making Doom style music. Unfortunately I haven't gotten familiar with the kind of synth work to make that real Doomslayer chaos, but this turned out kinda fun. Sometimes even when you fail to recapture a style, you can make something you're happy with!
This remix is pretty much everything you can expect from a Wassup Thunder mix. Gratuitous/egregious symphonic rock. I busted out my usual rock kit and tried expanding the soundscape some with man choirs and some eurobrass. I tried to variate the movements a little bit by creating a new intro and a few transition phases. I also had great fun extending each segment with more variations. Ah, I love the old Megaman X soundtracks.
I really wanted to expand this song, and added several new parts to extend it. I aimed to continue its original vibe to stay faithful. But man, the original sounds like someone had a great five minutes of composing and then got told the deadline was in an hour! I tried an orchestral approach with some backing guitars and drumkit. Really wanted to capture the feeling of fighting a nightmarish fiend that almost killed you as a kid.
*Edit* fixed a couple of errors I left in the composition.
*Edit Edit* fixed even more errors in the composition! Maybe I should give more time to stew over an entry before submitting it.
Sooooooooooooo I'm not the right guy to try and translate a rave beat into symphonic arrangements.... BUT I DID IT ANYWAY. I wish someone with real orchestral training would make a real artistic composition inspired from this. But for now, here's my crude brew of (symphonic) rave stew.
DONT VOTE THE BONUS ENTRY!!!
I went through almost a dozen names for this song XD. Thought about stuff like 'Till We're Bled Dry', 'I don't mind the Red', 'Taste of Scarlet', and so on. Finally settled on the current title cause I kinda like the story suggested under it.
I told myself I wouldn't just bust out my rock kit, but I still kinda did... I aimed to capitalize on the almost swing and jazz style of Blood Drain and keep a playful vibe through it. Used electric pianos for a good amount of the chords and melody, boosted the bass with a rhythm guitar, tried to recreate the solo violin's elegance, and still ended up trying to make a guitar solo or two! I also added some brass for the chorus. It was great fun to expand on several parts and add some wild variations. And I kept making up lyrics to the melody in my head XD
I mixed two songs from Tales of Symphonia together in this hot mess. Fatalize is a boss theme and a personal favorite of mine, and a mixed it with the theme of the character Sheena. This is a typical Thunder remix of bashing you over the head with as much symphonic rock stuff I can fit in FL studio's limiter XD
I named the tune in slight reference to the character Sheena and her tendency to fall down holes.
This was a blast to work with! I don't have any real Chinese instruments to keep authenticity, so I compromised with... some Japanese ones.
I also got inspired to weave in another source: Dragon Valley 1 from Freedom Planet. Which I find amusing and appropriate, as Freedom Planet is heavily inspired by the Sonic franchise. Also because "Dragon" names!!! This was an interesting challenge though, as Dragon Valley runs at 268 BPM, a drastic difference from Dragon Road's, which I mostly solved by letting the Dragon Valley melodies act as long, flowing parts over Dragon Road's rhythm and bass. Near the end of the song I switch things up for a finale using Dragon Valley's BPM and key signature, then end on the Shakuhachi and Flute giving us a nice outro variation of Dragon Road's intro, reflecting my mental imagery of the two game's proantagonists kicking back in sun chairs with cold drinks to toast the setting sun.
Dang, That's the most Dragons I've ever typed in a paragraph.
I aimed to keep a similar vibe with some fresh instrumentation. I used a rock bass to keep the rhythm and chords flowing, a rock drumkit on percussion, and a shakuhachi shared the flute parts with a solo concert flute. A koto served well for a number of Dragon Valley rhythm movements. I used both a synthetic and real piano sample for various parts, and tried using electric guitars for several melodies. And trumpets showed up, cause I love Brass instruments. Also did some work with Taikos and gongs for fun!
DONT VOTE FOR THE BONUS ENTRY
I initially intended to focus on a Silicon Forest remix, but was quite impressed by Rozenkrantz, so I instead made that the focus of my arrangement and spun Silicon Forest into its key signature.
I attempted a more peaceful, organic instrumentation than my usual style. I used multiple solo instruments like violin, cello, and flute to help create a close, intimate soundscape with the piano predominately on the melody. Rozenkrantz takes the lead with a few parts introducing Silicon Forest. For a finale, I brought out big-orchestra instrument groups for a brief moment of grandeur, before settling back into the simple charm of the music box.
I'm uploading now incase I don't have time to work on this again tomorrow before the deadline's up!
"I knew it. He's going way too fast! No way he'll make that turn."
*Epic robot engine noises*
"N-Nani?! Impactu Doriftu?!?"
I kinda just wanted that to be the only description of this. I tried putting a eurobeat twist on the song. Sadly, I don't know any Italian singers to perform this, so we got an instrumental cover XD. I also tried transcribing the Impact victory jingle from the game for the end of the song, thought it'd be a neat way to conclude it.
This is all made with SNES soundfonts (Super Metroid, Secret of Mana, Megaman X, and Kirby Superstar). I did NOT get the time I wanted to invest in this project, so this is simpler and shorter than I intended, but I got it in!
I didn't get to as much variation as I normally like due to time constraints so this is pretty faithful to the original. I also am not experienced using old soundfonts, so there's certainly room for improvements. But it was fun to throw together, and I didn't miss the round!
Remixing the source I chose, Black Ops Zombies. The title is improper latin, but it rhymes, and kinda means something to the effect of Eternal Hell.
I composed this to reflect the cycle experience of playing the original black ops zombies, based off my teenage years of playing it with my brother (good times!) I also wanted to try a new guitar amp plugin for this to get a more atmospheric electric guitar. I kept the piano as the main melody for much of the song to recapture the original's haunting atmosphere, bolstered with strings and pads. As the song goes on, I introduced more percussion and rhythm, culminating with a climactic meltdown of sorts. And authentic zombie sounds from the game!
It begins gentle and ominous as the horror and zombies stir out of the darkness, hungry for your blood. More instruments, rhythm, and intensity reflect the growing might of the undead horde that presses upon and drains your body, soul, and ammo. Another round begins, and another... Until you're running for your life as nearly invincible undead monsters hound you across the map. "Maybe I can drop a few with my last pack-a-punch gun's magazine?!" You dare to try. But you fail, torn apart by the ravening swarm...
And we begin, all over again, at round 1... Again....
Get it? Like Velocity/city? Puns? eeeeeeh?
I initially wanted to focus this piece around the chords introduced in the later part of the song, but challenged myself to try some new electronic elements to replicate a bit of the originals flowing nature. I made sure to tackle each different section of the original with some new synthesizers, but my favorite parts were playing with the pad chords and guitar. I didn't have as much time to work on this as I hoped, but was glad to participate!
This doesn't sound like anything I normally compose. I wanted to try an ambient, atmospheric piece. I intended to have it escalate and bring in more melody, but nothing seemed to fit. Thus, I opted to keep it fairly monotonous and stagnate, like fog-shrouded marsh.
This song gave me memories of the battle music from other jrpgs I played as a kid like Tales of Symphonia. I aimed to capture the style of rock with orchestral elements that I loved from games like that. My title for it is a reference to Act Raiser, as I read this game is a spiritual successor of sorts to the Quintent trilogy (Act Raiser, Soul Blazer, Terranigma).
Brass and guitar take the lead for the most part while strings do accompaniment and chords. For the part B of the song I wanted to really bring out the contrast of the different section, so I lowered the intensity and brought in a high reverb piano. After repeating the normal progression with good ol' melodic variation, I switched it up on the Part B to make it the climax with the guitar on the lead. Then I reprised the piano part for a gentle breath before ending with a variation on the Part C's stabs with a heroic sounding twist. Then I sheath my sword and go home!
DON'T VOTE FOR THE BONUS ENTRY.
I wanted to give this my favored orchestral-rock treatment to get a grand, heroic vibe fit to wage some clan wars. I tried paying closer attention to the orchestral instruments to get them more balanced and clear.
The main melody is cycled through brass, woodwinds, and guitar in an effort to keep variety in the different sections of the song. Strings are primarily taking the flighty accompaniment or chords. Rhythm guitar takes a lot of the bass line, sometimes joined by the cellos or tubens. And choirs join to add emphasis on my favorite parts.
I got a little distracted from this project due to work and other priorities, but feel pretty good about this composition in general.
I uploaded the wrong song, then lost my original entry's description. Then the song wrong song kept playing on thasauce.... So here I go again!
For this, I tried to explore a more electronic arrangement and punctuated it with some instruments from India (The sitar and bansuri). Aaand some good ol' brass, cause I like trumpets.
Starting the project, my mind kept going to Norfair from Super Metroid, and I mixed that into the project. The songs share a number of elements, and their melodies played well together. Norfair's modulations also made for some interesting variation for Gaia Rock. Thematically, they go well together, as both exotic locations feature a murderous dragon, hence the name Jaws of Stone. I aimed to keep Gaia Rock the focal point of the arrangement.
Remembering the days of my youth, playing Pokemon Gold on the Gameboy, trying to find a scyther in the bug catching contest. I aimed to find a good balance in the gentle, organic instruments before a more... rigorous section. Spent a lot of time trying to get both high and low sounds well balanced, with varying degrees of success I reckon.
The song starts with an organic soundscape, aiming for a subtle, modern vibe, trying to blend strings and woodwinds with soothing drums. Aaaaaaaaaaand then it kinda goes nuts briefly with my classic attempts at euro-beatish vibes. I know how to make soft songs, I swear! Maybe...
The song follows a little journey of stalking the grassy fields of the national park for the coveted pokemon, and the thrill of finding and catching the new best friend. I tried to keep the song within MnP's principles of faithful recreation yet imaginative retelling, though I think I mighta gotten a little carried away at a few parts XD
My Bonus entry (Don't vote for it).
I busted out my orchestral vsts to work at a military march vibe. I slowed the composition down to aim at an almost pensive, reflective style, more (dare I say it?) cinematic composition. Had imagery of dramatic military scenes from various movies in my head. This turned out long, 5:40 or so, but I kept finding ways to change instrumentation and emphasis as I went, so I believe the experience doesn't stagnate. It was fun to take a really fast piece and explore it at a lower BPM.
I wanted to capture the FIRE component of the song, and aimed for a real warm instrumentation using guitars, drum kit, brass, and a little strings. I wanted to balance the original's delicate, elegant vibe with a bit more intense rock composition. I didn't change the song's structure much, but extended a few parts for melodic variation. It sure was a fun song to work with.
This is a REALLY fun source, but took me a while to settle on a direction. I aimed to use african instruments for rhythm and percussion for a tribal vibe, and went for a calmer, serene vibe over all. Around halfway through I decided to mess around with the chord progression, and introduced an acoustic guitar for a little more energy. Then I couldn't resist using my new choral samples to build up the finale. And most of this was done in a single day XD
There's only one option in schmups: THE SPREAD GUN!!!
I really enjoy this kind of music, but it's different than the kind I normally work with. But I tried my hand at mimicking the chord-focused melody style. To try and spice it up, I introduced a few watery-themed instruments, like tropical metal drums and guitar. And sonar pings. I got some things that I'm pleased with in this piece.
DONT VOTE FOR BONUS ENTRY.
I busted out a bunch of folksy, organic samples that I haven't used for a while, aimed at getting a real festive, lively interpretation.
To help flesh out the short source, I added a reprisal and variation to the first part where I mixed up the chords and bass parts some, along with melodic variation. I kept bringing in new instruments to keep things fresh as I went along XD. The second half of my composition aimed at getting a bigger, grander feel with wide string chords. And taiko drums!
Took me a while to get traction on this, despite loving the source. I settled on a two part piece, starting with a lively sort of contemporary... thing involving strings, drumkits, and synths. And a little guitar. The last part settles down for a slow, gentle reprisal and finale. And to liven up the composition, I tried making a drum solo!
Don't vote for the bonus entry!
I defaulted to one of my favored styles, rock orchestral music. I aimed for making a slightly more dry sound to this than the original to bring out the fun baselines. Two runs through the song with variations and extended a few parts some.
Alternate title: Dinorex has the High Ground.
I hit the gas for a eurobeat inspired approach! Y'know, if the text adventure included finding a cool cool car to break some speed limits in. I've been in a phase of interest for Eurobeat styles, so Zork is my latest victim. I bumped the whole thing to 165 BPM's in the process, and accidentally worked the whole thing on a 4/4 piano roll, not realizing it was in 3/4 time. Not sure how I missed that XD.
For best results, you'll need stereo sound to hear the panning (symbolic of left and right socks). My attempts to create Eurobeat continues, with feet t0o hot to touch (the gas pedal) and probably drifting. And a violin happens, because I don't do vocals. Or violin, really, it's just a vst.
Named in honor of the artists that picked these fun sources! I covered both sources in a medley. I structured it to treat each song separately (mostly) to be sure that I kept things faithful for both songs to stick to the spirit of the MnP.
For Inner Darkside, I employed samples of authentic japanese instruments to take the lead and used some synthetic bass and pads to add atmosphere. And Taiko drums! I went for capturing the original's atmosphere, a kind of mystical awe of a strange, slightly sinister place. I primarily stuck to the original, but revisited the melody for some variation. The dark parts of the song connected well with the BFH03 Builder bassline.
Speaking of, I tackled the BFH03 Builder with my best attempt to replicate the gritty electronic vibe of the original. I used several FM instruments, and threw down some sfx's I found in my library. I used part of the original drumline, the almost militaristic snare beat. I distorted a piano vst for the thrumming chords of the middle, which made an interesting effect. After a runthrough, I adapted a few parts of Inner Darkside to call back to Shinobi. Right before the end, I got a bit carried away and created something almost dancey by changing the bass progression, and I hope it's not too outta line for MnP cause it was real fun to make.
This was great fun to create, a real eclectic experiment.
I really don't got much knowledge on orchestral arrangements, I should probably do some actual studying on how to make cinematic scoring. But since I didn't, I created my best shot at a dramatic, heroic arrangement for a cinematic space
marine soldier fighting for FREEDOM.
BONUS ENTRY, DON'T VOTE FOR IT.
I interpreted my remix as the result of giving mercy to a little froggit, who then goes on a journey of self discovery with the life you spared him. And he ends up hopping into Secret of Mana for a little bit, because Distant Thunder from SoM kept playing in my mind as I worked with it.
I never played Chrono Cross and know next to nothing about it But my instrumentation choices made the song have a slightly beach-side vibe. And I hear that Chrono from Chrono Trigger can appear in the game So this happened. And against my better judgement, I tried using electric guitar samples.
I saw koi fish and thought of japanese instruments, so I used some samples of shakahuchi, shamisen, and koto to set something of an oriental mood. Also tried working in time, which is not my usual time signature. Good learning experience. My mental imagery was the flickering colors of koi darting about under the shadows of lilypads.
|PRC450||Jul 17, 2022|
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|MnP133||Jun 18, 2022|
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|MnP132||May 01, 2022|
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|MnP129||Jan 04, 2022|
|PRC436||Dec 09, 2021|
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|MnP128||Nov 14, 2021|
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|MnP126||Aug 28, 2021|
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|MnP125||Jul 14, 2021|
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|OHC660||Jun 04, 2021|
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|MnP124||Jun 02, 2021|
|PRC427||May 30, 2021|
|OHC657||May 13, 2021|
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|OHC655||May 06, 2021|
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|MnP123||Apr 21, 2021|
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|MnP122||Mar 12, 2021|
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|MnP121||Jan 29, 2021|
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|MnP120||Dec 23, 2020|
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|OHC634||Dec 04, 2020|
|MnP119||Dec 02, 2020|
|PRC417||Nov 27, 2020|
|MnP118||Oct 28, 2020|
|OHC628||Oct 28, 2020|
|PRC415||Oct 16, 2020|