We seem to be experiencing something of a trend; good things supposedly come in threes, and this is the third mix in a row from a ReMixer returning after more than three years of inactivity, on the OCR scene at least. This evening's prodigal son is Jaroban (Jared Banta), whose Radical Dreamers mix graced our pages back in '03. Honestly, if this triune triumvirate of trinitarian triforce does one thing, it's to remind me how long we've been doing this, and how consistently: the simple fact that OCR's been around long enough for people to return after three years is pretty damn cool. We're like the mafia: just when you think you're out... we pull you back in. Or something. Jared's piece is ambitious and well-arranged. Due to the relative ambition, which I'd qualify as heavy utilization of mixed orchestral brass across a wide dynamic range, some multiple Achilles' heels are exposed in the timbral palette. However, it's just damn hard to utilize sforzando low brass without such side effects, and other talented mixers have similarly risked their employment. Ultimately, it becomes a philosophical question: does one arrange to the quality of the samples, or does one arrange to a hypothetical personal session with the Warsaw Philharmonic, where every last nuance would be feasible? I see the merit of both ideologies, and as with most things, the optimal approach probably lies in a contextual application of either, depending on the circumstances.
In this case, the circumstances are a prelude and march (helpfully titled as such) from the indefatigable Zelda 3 score, which clocks in at over six minutes. BGC took issue with the samples, while Jill insisted that nothing was "cringe-worthy". As a former euphonium player and front line witness to a really rather respectable High School low brass section, perhaps my standards are a bit higher, and I can sympathize with Jimmy's comments more. Still, I've yet to hear the orchestral ReMix whose mixed low brass blew my skirt off. Not that I wear a skirt. At night, in the dark. Listening to video game mixes. Alone. Point being, I can chalk up iffy low brass to the gods more readily than other instruments.
Interestingly, a good number of the judges were not only fine with the samples, but suggested the panel had too much of a "sample whore" emphasis, i.e. that sound quality was playing too large a factor. I think it's dangerous to make generalizations like that; it really is a yin and yang thing, and one can go too far in the other direction and exhibit bias towards mixes that are all arrangement and have lackluster production just as easily. With exceptions, a computer can't provide the arrangement for a mix, while good samples can make anyone sound at least a little better, but both sides of the equation require skill to fully realize, and that shouldn't be cheapened in either direction. Or at least, that's my take. At any rate, this isn't a textbook example of that dichotomy playing itself out, really, since only the brass stuff was eyebrow-raising for me, and overall production was competent if not lush. I preferred the prelude portion of the mix not only because it played to the strengths of the tools available, but also because the arrangement I felt was a little more elaborate and emotive. It's great to see Jared return after so long, and this is a mix that well utilizes refined arranging skills and runs a gamut of dynamics and tones.
on 2010-08-28 09:47:22
on 2010-02-27 18:50:31
on 2009-12-18 12:02:59
on 2009-10-12 21:10:37
on 2009-05-13 08:08:05
on 2009-01-06 21:12:10
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on 2006-12-10 02:00:02
Sources Arranged (4 Songs)
- Primary Game:
The Legend of Zelda: A Link to the Past (Nintendo, 1991, SNES)
Music by Koji Kondo
- "Dark Mountain Forest"
"The Goddess Appears"
- 5,559,286 bytes
- Size: 5,559,286 bytes
- MD5 Checksum: eaaa0d602eeee1ffb404f4dc80129454
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