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Chimpazilla

OCR03254 - *YES* Chrono Cross 'Passing Through History'

8 posts in this topic

Contact Info:

 

Sibling

Trent Thomas

soundcloud.com/siblingsound

49283

 

Submission Info:

 

Chrono Cross

Chrono Cross OST

Death Volcano

Originally composed by Yasunori Mistuda, Playstation 1

Link to original composition: https://www.youtube.com/watch?v=zx3_x4bxlMM

 

Personal Comments:

 

One of my favorite tracks from the Chrono Cross OST, Yasunori Mistuda has always been an inspiration to me since day one of me playing Chrono Cross and hearing the amazing music, 

 

This Remix was made using Ableton Live 9 with various plugins and sound design I hope you Enjoy it!

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Well this is the coolest, what a concept, and the David Icke soundbites are super, wow his philosophies fit this concept perfectly and I love what you've done with the vocals.  The track ebbs and flows and maintains my interest all the way through, it is dreamy and the drums accent the mood perfectly.  Great little accents, nice subtle panning.  Mixing is just right.

 

The biggest issue I'm having is making sure there's enough source use in this 8 minute track.  I'm going to listen quite a bit more (mainly because I just really dig this!) but another J confirming the source use would really help.  Assuming there's enough source, this is for me an easy

 

YES

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There are a lot of sections that I'm hearing what the mixer is going for in term of source usage, but I'm pretty torn on if the intent is clear enough. Sections like 1:03-1:38, 2:24-4:13, 4:56-5:39, and 6:52-8:01. I am leaning towards this just being too much of a stretch in those sections, and I'm going to have to say no on this because of it. The track is a really cool concept, and I think if the source can be made clearer in those sections I'd be all for passing this!

No (resubmit)

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I'm with DragonAvenger here. I have nothing negative to say about any of the technical aspects of this; I like all the sounds utilized and it's mixed well. However in terms of the arrangement, it's drawn out at times where it doesn't need to be. The sections she mentioned above are noteworthy, but I'm not saying they should be chopped out completely, just trimmed down to feel more bridge-like and less like they're entire other sections of the song that are unrelated to the overall arrangement.

 

At eight minutes long, I find myself zoning out. Shortening it would make it drastically more interesting and focused.

 

NO (resub)

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first things first, i not only hear the source, i hear plenty of it. that shouldn't be the knock on this arrangement at all. in my opinion, the issue with source usage here is really just tied to the length of the track and the fact that direct source quotations will seem sparse in relation to that. but the source is absolutely there, is the very center of the creative interpretation and it is done wonderfully.

as far as the piece itself, most everybody is already on board as far as its quality goes. excellent use of the whole soundfield. bass is powerful and demanding. the sound design is fantastic on the main synths as well as the auxillary atmospheric stuff. experienced usage of sound bytes, too; kudos for knowing how to PACE and PLACE them.

 

i get that it drones on a bit but i feel that is purely stylistic; sibling clearly has been doin this for a while and i don't take his "long windedness" as a lack of critical editing or a case of overwriting. quite the contrary, actually. i feel this track with its pace and its development (especially with the sequence of sound bytes) needed the full 8 minutes and could have even gone longer, honestly but the 8 is just right. and the long fade on the ending note is nice. very artsy stuff.

this is a good piece of music.

YES

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I want to be very clear regarding my timestamp notes: I always count stuff like held notes from phrases that taper off (e.g. 2:10-2:18, 2:46-2:51, 6:39-6:49.75) and quiet yet audible source references (e.g. 5:26-6:02.5). IMO, the case could be made that the connections aren't loud enough in some places and thus not dominant, even though they're there, but that's not my POV. I take loudness into account for the overall presentation of any piece, but for the most part, I count what I can hear.

The music portion of the track was 7:44-long, so I needed at least 232 seconds of source usage for the source tune to be dominant in the arrangement:

:00-:54.75, 1:33.25-2:51, 2:58-3:09, 4:27-5:03, 5:26-6:49.75 = 263.25 seconds or 56.7%

Some subtle references included 2:58-3:09 & 4:27-5:03 referencing 1:42-1:55 of "Death Volcano" and then the light female vox at 5:26-6:02.5 alternating between the main melody and either 2 or 3 notes from a 3-note pattern from 1:06-1:24 of "Death Volcano." The way the source was deconstructed and subtly referenced in a lot of places was very tricky to pick up on, but I was impressed when I discovered the connections.

My mistake if it turns out that was a direct connection as well, but :57-1:33 came off like more of a soundalike version where the source countermelody's rhythm was copied (:38-1:15 of "Death Volcano"), but the notes didn't sound the same or transposed. In any case, that was a stylistic connection, but not something I counted.

As far as the arrangement's structure and pacing, I'm way in the Chimpa/zykO camp that this was an engaging listen. I'm totally down with the ebb and flow approach here, felt the dynamics were subtle but meaningful, and didn't feel that the track lacked the substance to justify the 8 minutes. A smart arrangement that asked for careful attention to the arrangement details, but good times nonetheless. Nice work, Trent!

Also, I'm not going to speculate on how that big bong rip at 1:08 was acquired, but given what I read about David Icke's conspiracy theories (reptoids!), it makes sense. Good choice of SFX & voice sampling. :lol:

YES

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Really enjoy the instrumentation and variation in the arrangement of this mix. Many transitions with nice fills and interludes throughout. The mix is quite minimalistic in nature in a lot of portions, but you have been creative enough to keep the track progression running strong without needing to overcrowd the mix.

 

That said, my main gripe is that I felt the song went on a bit too long to be sustained by the ideas being used. It didn't do this to the point of overstaying its welcome, but it was verging on it for me.

 

Production is solid with good use of stereo space, and everything can be heard across the mix.

 

YES

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The sound design and feel of this one is just super good.  Thanks to Larry for the source breakdown.

 

Vocal samples were very tastefully integrated here and added to the atmosphere of the track.  Take note, producers, this is a great example of how to do it right.

 

Kick used in a good portion of the track was a bit hot in the "clicky" range for my taste. Would've liked some of the highs (10khz or so and above) rolled off a bit.  Same goes for one of the hihats used later on.  Some of the hits had a bit of a raw feel to them that almost sounds like it's unintentional distortion, but I think it's just the effects used on them.

 

I will concede that this one does feel like it drags a bit in places, but I'm sold on the concept and execution.  Great stuff.

 

YES

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