Sign in to follow this  
Followers 0
Gario

*NO* Marvel vs. Capcom 2 'Infinitely Waiting'

4 posts in this topic

Contact Information
 
ReMixer Name: Chief Takinawa
Real Name: Bradley Richardson
Email Address: 
UserID: 34521
 
Submission Information
 
Name of Game(s) Arranged: Marvel Vs. Capcom 2: New Age of Heroes 
Name of Arrangement: Infinitely Waiting
Name of Individual Song(s) Arranged: Swamp Stage
Additional Information: 
Composer(s): 
Tetsuya Shibata; Mitsuhiko Takano
Platform(s): Arcade, Dreamcast, PS2, PS3, Xbox, Xbox 360, iOS
 
ReMixer Comments: (  )This remix was originally intended to be a concept theme for the upcoming Marvel Vs. Capcom Infinite's online lobby screen. I slowed the tempo down and gave it a jazzier feel as demonstrated by the keys and the "do-bop" vocals. The solo section is simple using traditional instruments and a more hip-hop ish drum break. Mixing and mastering to give it the highest quality I could achieve was definitely the most time consuming part of the writing process as always. Figuring out certain chords also took its toll on me. All in all I feel this came out nicely and I feel it would be enjoyed by several long time MVC fans as well as fans of traditional jazz type music. Thank you for your time!
 
-Chief Takinawa
 

Share this post


Link to post
Share on other sites

Well, this is a pretty cool idea - take an older track in the series, give it a more chill "menu screen" vibe as if it were to be a track in the new game. As far as composing soundtracks go, you've got some technique, and I like it.

The overall source representation is clear, with some care to give a new spin to the textures from the source and make it your own. The track does repeat at the 2:00 mark, though, which is a pretty big no-no as far as getting it posted on OCR. I understand the idea if this were actually being used in the infinite soundtrack (loop points are important!), but for a stand-alone track it makes a third of the track sound like needless padding.

The mix in this isn't ideal, either. While there is a sense of foreground and background, they're not quite seperate enough to prevent the leads getting a little lost in the supporting textures. It's not the worst mixing, but it could use another pass on the levels to help make the leads stand out more and the background textures sit further behind in the mix. Watch the soundscape in this, as well, since the lower mid range tends to get pretty crowded while the upper range is quite empty. The percussion at 1:14 fills the upper range nicely, but everything prior and after has a bit of a dull, lifeless quality to it due to lacking in the highs.

All that being said, you definitely get your initial idea across, and aside from a less-than-ideal mixing job I could see this being a cool menu screen track for the Infinite game. However, one needs to consider that this is a site for stand alone tracks: a looping point isn't necessary, and in fact is frowned upon due to making a track needlessly repetitive on here. Change it up past the 2:00 mark so it's not as repetitive and give the mixing some more TLC and we might have something we can post up here.

NO

Share this post


Link to post
Share on other sites

I think I can quote Gario here, because he hit all the points right on. A great example of what he was saying about the foreground/background is at 0:39 . Right there the synth playing the lead sounds more like a background texture, vs the background at  0:54 that sounds like a lead since it pierces through so much better. Maybe even consider swapping those two :). I will also add that some sections feel just a little on the mechanical side, like the opening with the block chords and the sax section later on. A little touch of humanization there might make a nice difference. 

The concept here is great; take a good look at Greg's vote here, I'd love to hear this again after some fixes!

NO (resubmit)

 

Share this post


Link to post
Share on other sites

The percussion work was creatively written, but still sounded robotically programmed.

The "do-bop" vox brought in at :19 was brutal, and that kind of overly fake & exposed triggering style only works in select contexts. Using them prominently, especially for long-held notes, is a mistake.

The chiptune accents first used at :45 were a nice touch though, while the mallet perc from 1:14-1:33 was rigidly timed, but had more of a tail to the sound which (only partially) mitigated that realism issue.

The synth sax from 1:33-1:59 was very poor as well, with very stilted timing and 0 meat to the sound.

Also, this isn't the Marvel vs. Capcom 2 game itself; this arrangement is meant to be a standalone piece of music that's fully developed, so don't just loop it, employ some additional variations.

The arrangement goes in the right direction as far as personalizing the sound, Bradley , but there's no polish to the execution. Refine the sounds/articulations, re-look at your mixing per the other Js crits, and develop the arrangement beyond the 2-minute mark.

NO

Share this post


Link to post
Share on other sites
Guest
This topic is now closed to further replies.
Sign in to follow this  
Followers 0