Eino Keskitalo   Members

I put together a source breakdown for "Luja". The Dark Messenger is transposed up a half-step, Lulu's theme is transposed down half a step. I've basically used only the melody from the source. Bass (and therefore the whole harmony) is rewritten. At points the result is a bit awkward and needs the melody to be rewritten a bit.. 0:00-0:17 Guitar and the descending bass are loosely the piano & pizzicato strings from Lulu's intro (0:00-0:14) 0:17-0:50 Guitar line in the center is the first melody from Lulu's theme (0:15-0:40) 0:50-1:06 Guitar line in the center is the second melody from Lulu's theme (1:09-1:33) 1:06-1:23 Guitar line in the center is the highest harmony of the organ intro from The Dark Messenger (rhythm is altered) (0:00-0:20). Played twice. 1:23-1:32 Guitars approximately follow 0:25-0:41 from The Dark Messenger (notably, the bass isn't followed). 1:32-1:40 Guitars approximately follow 0:55-1:02 from The Dark Messenger (again, the bass is not followed). 1:40-1:48 The guitar (on the left) supposedly follows the rhythm of the riff from TDM at 1:31-1:37 1:48-2:22 The riff on the left follows the previous rhythm and I think it's supposed to follow some chord structure from TDM, but I can't figure that out anymore. The guitar line in the center is an amalgam of the beginning of the first melody from Lulu's theme and the string motif that plays on top of the TDM riff (1:17-1:23). Too bad I didn't use the later variations of the motif anywhere.. 2:22-2:38 2nd melody from Lulu's again. 2:38-2:55 The first line from TDM's intro again. 2:55-3:29 The guitar on the left is of course playing THE riff from The Dark Messenger (1:01-1:15). Guitar in the center is playing the same figure as in 1:48-2:22 except twice as fast. 3:30-3:37 The bit where the TDM riff descends (1:26-1:33) is played by the right guitar. 3:37-3:54 Theoretically, the right guitar plays the subsequent chord & rhythm from TDM. The second melody from Lulu's theme is played on top of it. Results may vary. 3:54-4:27 The second melody from Lulu's again, twice this time. 4:27-4:46 Back to the intro material, first with the descending figure on bass + the guitar on the right, & then the intro guitar in the center. That should be it! --Eino

Sounds fine to me! --Eino

Well, I didn't get to pad it with keyboards, the drum variations stop midway through, and there's a few sour notes on the guitar.. but I'm really happy with it considering. Midway through the night I felt desperate and in a dead end, but then I let the piece itself take charge and lead the way to unexpected places. That usually works. Need to sleep now though so this'll have to do. Sending the WAV to Brandon in a minute. --Eino

Spooky, but lucrative. This! The most festive of Mega Man's adversaries. Happy birthday! --Eino

He he, thanks for the confidence in me, Brandon. I just, again, stayed up the whole night and got a complete thing together, all the guitars recorded, if shabbily. Might still add a little keyboard, so I'm not sending it in just yet. I'll warn ya though, plenty of conflicting notes and stuff, since I simply didn't have the time (or the skill) to figure them out. Yech. I'll do that post-compo, now I just wanted to manage a complete-ish piece. --Eino

I haven't had the time I said I'd have, of course, but I've figured out some fun stuff on the guitar. Not sure if it'll be a complete arrangement, but I'll put together what I have. --Eino

I don't think you can spoil a baby by carrying her too much. On the contrary, the more security and closeness she'll load up now, more confidence and trust in her place in the world she'll have. Oh and if she's smiling, it's not gas. She's smiling. Enjoy it! --Eino

FTL has some great music. This is the final sector/boss music, I remember those fights. Should go back to trying to beat the game on normal. Anyway, nice concept! I'd like to see some FTL mixes as well. --Eino

It's the best xmas gift you can get (saying this from experience). Many congratulations and much happiness! --Eino

Wow! I'm impressed, that's a really good walkthrough of the song, I'm really grateful you took the time to do that. Really well laid out too! That criticism about the structure was just what I was looking for. I think I have to agree with that & work some more on the arrangement. It's very encouraging to hear that so much of the track was working for you. Many thanks! I did forget to include the source link, will do later.. --Eino

I could put the stems up, even though I don't think I mix particularly well. The easiest for me would be to just share the Renoise project file, if anyone's interested. You can use the demo version to look at the file, and I don't use any external plugins either. Buuut I dunno if anyone's that curious to install new software etc.. Anyway, stems, yeah, when I find the time. --Eino

I gather we are battling Kuja this round, but the winner of the two of us gets to the finals. --Eino

Okay hmm, I guess I'll try to sneak in some Gogo in that case. (: edit: This compo is super adorable. I have nothing bad to say about it. Go compo! You can do it! --Eino

*insert joke about ectogemia joining up as the staff dentist*

This was my entry for PRC259. I've mixed it a bit better thanks to feedback from that round (thanks especially Esperado and MindWanderer). I'm marking this as finished, as I'd like it to be.. but I need help determining if it's (a) actually serviceable/interesting as a piece of music (worth listening to) and ( good enough for OCR - especially the guitars. I'll be happy to work on this if it still needs work, but even happier to just submit it if it's ok! https://www.dropbox.com/s/otamh46v6s8dzf9/eino_keskitalo_-_Kaikuluotain_wip_20131217.mp3 --Eino

I have seen a couple of attributions in mixposts. Edit: or quite possibly just this one: http://ocremix.org/remix/OCR02320/ Couple of Gario's mixposts mention having sounds from freesounds but don't elaborate, I'd assume those use samples that don't require attribution. --Eino

Hooray! The concept of the project is great. And the list of finished tracks looks promising already. Unreleased Dj Mokram goodness.. Get this thing done!! --Eino

Man, that to be judged -queue is shrinking fast.. Isn't it? --Eino

http://wtrebella.bandcamp.com/album/nimble-quest such chippy goodness. Really well written tunes if you ask me. --Eino

I was going to suggest collabing too if Flexstyle wasn't up for it himself. (: --Eino

Bracket images are looking really good now (poor Garpo). Hunf, Kuja. Somehow, I feel stumped right now. I admit it's good, but somehow.. Well, I guess I was already heariing a style/arrangement in my head and Kuja's theme doesn't quite fit! But that's just what makes this fun. It's similar to Tyranno Castle music in CT which is a source I've wanted to tackle for some time. Also.. That "pre-final match-up", reading it actually made my heart rate go up. I hope we get good competition in this Darkness round! --Eino

I love Wonder Boy 3 to bits, and the source is great. I think you did a fantastic job with transforming the music to 6/8, and the 80s feel of the sound is also very enjoyable. The only thing - and a big thing - I'm thinking is that the structure isn't anywhere near finished. The proper start (at 0:28 ) feels like it begins from about the last third of the song. You still have the two first thirds to write! Or so it seems to me. I really, really like what you have here, and I'm very much looking forward to updates! --Eino

Hmh, I'm not hearing that much now, except for the second guitar coming in at 0:21 is eating up the other guitar a bit. It also feels it has a bit too much low end in it. That's a floor tom, right? Not even sure if it's a single sample. Something was sticking out about it to me. Oh well. Damn, it's criminally short. --Eino

I feel bad for not giving any feedback especially after getting so much useful comments myself. Just haven't had the time (and I really should be critiquing BA3 tracks when I have it) but here are some short comments for the round 4 tracks: Ivory The playing is really communicative and emotional, which I enjoy a lot. The transformation of Hope's theme from guitar to piano works very well. I actually had a bit of trouble recognizing Lulu's theme first, but that speaks entirely of the quality of my listening. I think the treatment of it is quite brilliant. The arrangement is a indeed bit of a sketch. The transitions from part to another are somewhat tight turns, and could use some "glue" kind of writing, to weave the sources together a bit better too. Tight turns can be good though. Some of the sudden transitions could work great with just a small pause between them, to create anticipation and then surprise with just going directly to the next part. I lack the theory vocabulary to explain this, but I also felt that the piece sticks too much to the "first chord" or root of the scale, which makes for a sort of one-dimensional impression, especially emotionally. Now if this sounds harsh, I only mean to say that there is a lot, lot of potential in the arrangement. The "glue" part could well be something that contrast the "first chord" feel of all the other parts. Sheesh, I hope you can make some sense out of that. The ending also leaves a feeling of not being developed nearly as far as it could be. That all said, what is there is pretty great - especially the treatment of sources. They could be better woven together, but I already thought that the first transition from Hope to Lulu worked quite well despite being quite straightforward (just one played after another, except the latter changed to 3/4). I really, really hope to hear this developed further. Edward Zorn Gets a Haircut Two things I consider brilliant in this arrangement: the genre choice (both in idea & execution) and the treatment of Edwards theme. It's so different (at least to me) but completely recognizable! On the other hand, I wasn't able to hear any Zorn & Thorn apart from the intro (but maybe that's just my listening again). The rhythm team is quite stiff & mechanical. The voices sound surprisingly good, and the trumpet also sounds good, gives it a Beatlesque vibe (at least to me). The final reprise of the, I'll call it verse, felt a bit samey to what went on from before, which might be unfair as it OTOH seems altered to give it a feeling it's leading to the end, but that sameyness was my initial impression. The overall structure felt complete. Enjoyed the piece a lot! The Gogo Cat Experience I was expecting boombastic orchestral pieces from Chernabogue, and this jazzy vein he's been exploring is a really pleasant surprise. There's a great feeling of a small, smoky, very very decadent club that's probably a front to some sinister organization.. but nobody cares. The very deliberate, relaxed (but still tense) tempo/ryhthmic feel does a lot to create this atmosphere. The material feels cohesively put together. The piano especially sounds good, the rest of it could be humanized better. Get XPRTNovice on the clarinet obviously. Right, couldn't keep it that short after all. That's why you don't see any comments from me, always ends up taking too long. --Eino