ReMix: Metal Gear Solid 'The Price of Freedom'
7,142,087 bytes, 7:22, 128kbps
Streaming preview on YouTube
- Game: Metal Gear Solid (Konami, 1998, PS1)
- ReMixer(s): Evan Arnett, Janna McKinley, Jonathan Mills
- Composer(s): Gigi Meroni, Hiroyuki Togo, Jeon Myung Lee, Kazuki Muraoka, Rika Muranaka, Takanari Ishiyama, Tappy Iwase
- Song(s): ''METAL GEAR SOLID' Main Theme (METAL GEAR SOLID 3 version)', ''Metal Gear Solid' Main Theme', 'Encounter', 'Metal Gear Solid Main Theme'
- Posted: 2012-01-12, evaluated by the judges
The price of freedom, as we know, is $1.05, but now it's ALSO an epic, cinematic MGS mix from Evan Arnett, who follows up his Zelda debut back in 2007 with a collab that involves two additional musicians:
"Inspired and humbled by the tremendous positive feedback I received from my Zelda overture, I decided to try my hand at an arrangement of another of my favoirte game scores: Metal Gear Solid. As I was writing this, I played through all four Metal Gear Solid games, and wanted to create a version of the theme that fully encompassed the entire series, much like what I tried to do with the Zelda Overture. I wanted to challenge myself to create a piece that sounds as if it could belong in the game, yet included a great deal of original thematic development: melodic, harmonic, percussive, and motivic.
I had the privilege of working with two very talented musicians: mezzo soprano Janna Mckinley, who sings the opening and whose voice I manipulated into various electronic textures throughout the piece, and guitarist Jonathan Mills, providing the wonderful acoustic improved intro and echo of the main theme.
I had more planned for this piece, but unfortunately my studio was burglarized and all the original files and arrangement were lost, leaving only this mp3 which I had uploaded to my personal site. Still, I'm proud of what I was able to accomplish, and sincerely thank you for your consideration."
Unfortunately this is now the sole recording/encoding of this amazing arrangement, and it's at 128Kbps, proving the age-old adage that the only good burglars... are Hamburglars. Right from the intro, with Janna's gorgeous singing, it's clear that Evan isn't pulling any punches - as with his Zelda mix, this is a fully-realized, very substantial arrangement that encompasses not just one game but the whole series universe. It's chock full o' ideas, and the addition of vocals & guitar lend the intro a distinct vibe that flows nicely into more electronic textures, becoming increasingly cinematic w/ BIG DRUMS, and then... check out the piano & guitar call-and-answer, with soft string pad accompaniment, at 5'07". Very sweet, emotional moment of Zen; an oasis of calm in the midst of all the action-espionage turmoil. Use of solo brass is brave; it's never gonna sound 110% immaculate, particularly when exposed, but sequencing can help, and I especially liked the glissando down @ 5'50". OA writes:
"...in some cases I could have been tricked into thinking I was listening to the OST, especially for the encounter theme. I loved the arrangement buildup of the Snake eater theme, but thought it could have gotten even bigger, and had more time to shine, though that is just my bias, as I think it's one of the best game themes to come around in a very long time. The transitions were good, and the varying sections contained a good blend of fresh ideas but always with very recognizable themes, and the song finished very nicely. Overall this was really solid (see what I did there?)"
It's a great, BIG mix that incorporates some of the games' best themes into something that develops, tells a story, and has a huge impact. Here's hoping karma comes back to bite whoever hit up Evan's studio, and that it doesn't deter him at all from making more epic ReMixes like this!
- Crulex on December 11, 2012
- Martin Penwald on July 14, 2012
A remix that tackles the whole intro is something I've been interested in hearing and toyed with numerous times over the years, and while this one doesn't quite do that the fact that it kicks off with the same music the game introduces itself with is an excellent nod. To then go through some of the series' finest music just makes it better and better, and while I can hear where some areas could have used some extra polish if the opportunity were there, it's nonetheless an incredible accomplishment.
Well done! Now get some more made. ;)
- Thrik on January 21, 2012
This made my day , really!
- BONKERS on January 19, 2012
KnightOfTheRound;835826 wrote: Hell yea, I really enjoyed this mix! There needs to be more Metal Gear on OCR!
I second that but i point you back to my statement: ..Too few people have the balls to take on a project of this magnitude. This... *bleeps self* I have heaped praise on Reuben for his interpretations. It is a standard i hold all MG remixes to, they are that damned good.
Metal Gear has a required level that just being OCR level wont cut it. The few MG remixes on this site have set new standards for OCR in general. I wouldn't mind more Metal Gear mixes but the few we have are so damned good i don't care that its a small number.
- Hyperion5182 on January 15, 2012
Gave me nostalgia goggles.
- Aster on January 15, 2012
- KnightOfTheRound on January 15, 2012
- uhhh6677 on January 14, 2012
Well done sir. This one's getting put in my top 50 playlist.
- Hyperion5182 on January 13, 2012
The only things that would have been different if the piece had been finished is that the ending would have been louder (actually, I was out of headroom so it might be more accurate to say that the first 3/4 would have been softer) and I would have replaced the sampled solo trumpet with a real trumpet and real horn.
If any composers are interested, here what I used, as well as I can remember. (It's been almost 2 years since I wrote this)
String/brass- Symphobia, VSL Epic Horns, possibly Project Sam trombones
Piano- Native Instruments Steinway Grand
Trumpet- Samplemodeling "The Trumpet"
Percussion- Tonehammer Epic Toms, Heavyocity Evolve, maybe Stormdrum 1
The clicky percussion was done in FLStudio with various samples I tweaked a lot, but the main thing was sequenced and mixed in Cubase 5. Ozone 4 for the mastering.
- Evan Arnett on January 13, 2012
- Adventdawn on January 13, 2012
The ending did lack power that i was expecting but it made up double for the emotional power in there, which for this game series? had plenty of emotion in there already.
Great job guys. keep up the good work
- psychowolf on January 12, 2012
- Softsteel on January 12, 2012
- djpretzel on January 12, 2012