The Nikanoru

... and had I read to the end of this thread, I would have seen the trailer links. Looks flashy, and I'm sure the combat system is fun, but I miss my turn-based or ATB combat systems. If I want to play an action game I have NeiR, Heavenly Sword, Force Unleashed, Clastlevania: Lords of Shadow, God of War, various Legend of Zelda titles, and so on. This is what really turned me off of Lightning Returns; when I play an RPG, I want to play an RPG, not a shooter or action/adventure. I'm curious about Kingsglaive, but not expecting as much as I did for Spirits Within or Advent Children. After the complaints I heard earlier about voice acting, let's hope - because hope springs eternal - that they get the damn dialogue right, because the actors I see they chose so far aren't terrible. Who wants to bet Sean Bean's character dies before the end, like every other role of nobility he's taken on recently? :)

I honestly think FF XV is going to be more of the same. I've noticed SE's flagship titles moving more and more towards a more action-based combat system and, in general, more towards appealing to a Western market. Western gamers are generally into less thought, more reactive gameplay with a plot just complex enough to keep you wanting to know what happens next - after all the complains about the story-boarding of FF XIII, I think this game is going to be exactly like FF XIII in terms of gameplay, with a less-detailed plot more focused on story progression and development of only the main two or three characters. FFXIII a colossal failure? I'm not sure I would agree with that. One big complaint I heard about FF XIII was that there was too much plot, too many cut scenes, too much required of the player before they had access to regular gameplay; I personally think that yes, playing through half the game's plot before you even had access to all the characters at once was a bit much; however, most of the plot revolved around character development of not just the main characters and setting the scene of a very difficult world to describe life in. I thought this was necessary to tell the whole story and understand why the characters made the decisions they did; however, if felt rushed, choppy, and . Great setup, poorly delivered; I think they could have done much better if they hadn't focused so much on the majority of the plot happening in Cocoon while Pulse was the 'World Map.' Besides - if it was such a colossal failure, how did Lightning Returns EVER get permission for release? I'm with you, XPRTNovice (but Zell was FAR more annoying than Snow will ever be). Too much study on why FFVII was successful and not enough on why the first six games were successful BEFORE that. I thought they learned their lesson with FFIX, but I was mistaken...

Suspense! This one gives me goosebumps. The tuba(?) between 0:50 and 1:00 sounds like 'blat... blat blat' - I can't really hear the notes it is trying to hit. Maybe it's a compression thing, I don't know. Not complaining about the effect, but maybe a slightly higher-frequency instrument like a baritone tuba or bassoon would make the notes sound a little better? Violins come in a little strong for me at 0:54, but I get the effect you are trying to create - it's just a sharp moment when the overall feel of the track seems to be the building of tension. Love the phases of this track, seeming to lead from one bad situation to another. Usually, Star Fox tracks are quite optimistic-sounding, but I actually think this track captures the 'real' feeling the characters would be experiencing - Slippy: "Oh &%$#, how are we going to get out of this one?" Fox: " Quit whining, scramble the Arwings and figure it out!"

I really like this track. I think you need more bodhran and pan flute with less mandolin to give it a more Celtic feel IMO, but I really like the sound this track creates regardless. Mournful, slow tones on the steel-string with harmonizing strings - it reminds me of a Wild Arms track. Only critiques: The volumes of each instrument seems a bit off in some parts and there's a loud click at 2:19. That's it - love the arrangement, the timing/intonation is great, beautiful track. Although the Norse music discussion should probably be moved to another thread, I'd like to suggest the 'Valkyrie Profile' series as a good source of modern-sounding Norse music in video games, specifically the track 'Epic Poem to a Sacred Death' from the first game. For more Celtic-sounding tracks, check out katethegreat19's work on OCR - she is an AMAZING vocalist and harpist, and has some gorgeous tracks she has done for the 'Worlds Apart' OCR album released last year. Hope this helps!

Wow, I really notice the difference. I also hear a few variations to the bass line in the intro that weren't there before. Sounds great! I hear the new guitar bits. I like the sound better, but I think the volume is still a little low between 2:12 and 2:24. Just a little. The guitar at 2:48 to 3:00 could do with a bit more too. Also sounds good. I hear what sounds to be a mild finger snap on the offbeat of the fourth measure after 3:00 - subtle, yet effective. And, are those finger cymbals I hear at 3:12? The guitar/violin combo is awesome, love the texture it creates. I think that's a single note on a clarinet at 3:21 - also effective. Really like all the changes and additions! Once again, this is a beautiful track. I could listen to this for hours.

You really should reconstruct this if you can - it has a ton of potential.

For your first, you can't go wrong with a Zelda track. Many people have their first time with Zelda - but that sounds absolutely terrible so I'm going to stop there. In the beginning, a quiet and reserved piece. I like the feeling you capture here - that music-box quality leading into mild orchestral is really neat. However, I'm completely thrown off by the following main Zelda overture (even though I like the arrangement). The transition isn't terrible - I actually like the tiny snare tattoo and gradual change to the new beat - but to me, these feel like they should be two separate remixes. I gotta say, I really don't like the quality of the effects. The sound feels really tinny and claustrophobic. The sound wobbles a bit around the beat at 0:43, and almost every beat thereafter. I assume this is also the medium you are using to record/master. It makes the second half of the remix sound REALLY distorted and choppy. This is a good start though. Looking forward to hearing the next version! By the way, the video says LEGO DIMENSIONS on it... LOL

Love the way you put that - 'serious intro to "hotshot flyboy" mode.' Alright, I'll listen to it a few more times this week with that view in mind.

Big fan of this game and the soundtrack, probably my favorite in terms of feel and originality. First of all, let me say I love what you have so far. Most people tend to stick to the soft feel of the original track, but you've taken a big step in another direction here. I really like the dirty, low-tone distortion that you've chosen and the almost tribal tom progression you gave the percussion fits perfectly. The orchestration in the background only supports the overall tone and I love how all the tones match. This sounds GREAT. What you are feeling is a lack of intro riff. You need a fill after the first four measures, to go along with the bass coming to the table. Something low-tone like the rhythm guitar, but not too fancy, just enough to get the listener into that orchestral bit. Everything else is there, in my opinion. I like the transition here. Flawless. If you want people to headbang, I have a couple of suggestions: instead of using the main guitar to 'mix up' the melody (second four measures), I would keep the melody by that dirty guitar original and put in another slightly-higher toned guitar fill that plays over top of the melody, then try to get the drums and the rhythm guitar to emphasize the beat together (If you listen to 'Blood Pigs' by Otep, you'll get an idea of what I mean). Not sure the key change fits, but maybe this will sound better with a fill. LOVE how the rhythm guitar supports the melody here. Very powerful. You might want to consider the 'Fear of the Heavens' riff as a sort of 'chorus' to bring the listener back to when finished with whatever other tracks you have planned here - if that fits with your design. I like it, especially how the percussion and orchestral parts drop off to let the riff play out. If you choose to go for another round of this track, you may consider some gentle high-hat or light cymbals for the beat instead of actual drums, to help preserve the emotional feel you have laid out here. I really like what you have here, and I want to hear more. If you are looking for suggestions on where to go next, I say percussion is one of the high points of the SoM soundtrack, so take 'Danger' or 'the Oracle' and see what you can do with it - then finish with 'Fear...' one last time. Stretch it out, epic hair metal ending, worthy of Brian May, Slash, or Keith Richards maybe? Have fun ... and keep writing!

Wow, very impressive. Love the feel, definitely epic - I especially like the choral bits emphasizing the beat. There's a lot going on, but it doesn't sound muddy; you can still hear the individual parts throughout most of the song. Did anyone notice the almost-Magus theme bit in the intro at about 0:40? I like that - almost expected it to finish. I liked the percussion up until about 1:45. I find the softer electronic beats take the song a little away from the overall feel. I personally think the drums should be consistent throughout the song, but if that's your design, then maybe something just a little more defined. The sound seems a little choppy at 2:22 and again at 2:55. Is this a format thing? I think the fade-out is fine, but maybe just one piano note instead of the repeat.

What do you mean? What would you do here?

I do have more of an issue with the second orchestral part than the first, but I'm still not sure orchestral goes with this one. I think it's the percussion. Maybe it's the tempo, maybe the drum transition - the snare is quite sharp compared to the warmer electronic beats - but it doesn't feel right. But, hey, just my opinion.

I like the arrangement, but I think it needs to be tighter and faster to create the effect you are looking for. I also think you should lose the phase shifter effect on the rhythm guitar - it makes the background sound really muddy. The sudden stop at 1:40 sounds really out of place and throws the feel of the beat way out; however, I think this could be good with the correct transition. Maybe listen to some of the medleys on the more metal-heavy albums (I'd actually recommend goat's 'Scourge of 1691' or 'Creeping Dusk' from his 'Unchosen Paths' album) to see what I mean. I like the layered effect this leaves and the distinctive difference in sound from the backup-lead and lead guitar parts. Very cool if you can get this right!

Clean, sharp distorted guitar fill at 0:57 would be my choice, or using something similar to the effects you have going on at 1:36. One other thing: There's a key change on the guitar at 1:57, but the bass doesn't change. Not sure if you meant to do this or not, but it sounds mismatched. Great track!

I love a good rhythm guitar riff with drive and a fast beat. Helps get you out of bed in the mornings. Like Slimy, I'm not sure of the orchestral parts of this song even though I like the arrangement. For me, it seems incongruent with the rest of the song; too many ups and downs with the speed and force, This is a powerful track with the fast pace and the driving metal sound with lots of electronic harmonies and effects; I truly think the orchestral side disrupts the pace too much. I think the drums are a little basic, but create the right sound for the track. I do love the downbeat at 0:51; gets me right into it! If you're going to keep the silence at 1:37, you need another fill right after that. The reintroduction of the rhythm guitar is good, but I feel like the main melody progression feels too repetitive here. The key change at 2:32 and 2:54 is well-timed, but I'm not sure you have the right key... Good track, lots of potential to be awesome!

If you're referring to the overall volume of the song, no, I don't think so. In fact, I like all the gentle crescendos and decrescendos I hear throughout the track. The original track has a bit of a warm tone to it anyway which I think you've already captured here. If you're referring to the flute, no - love the way it fades in then out. Listening to it another bunch of times, although I hear timpani and muted crash, I'm becoming not sure about the big cymbal crash at 1:25. It works well with the moment, but maybe not with the overall feel of the song - you stick with the muted crash through most of the song, so the big crash seems sharp in comparison. This, however, is a personal preference; listen to it a few times with and without and you may feel otherwise. Man, how do you mix in so many different instruments at so many different times and make them sound so good together? I've heard Deadly Furniture and Dracula's Secretaries and you have a real talent for this!

Hello, I'm the Nikanoru, retro gamer extraordinaire. I've been creeping the OC Remix website for a couple of years now, and after I downloaded my 12th remix album, I thought that I had run out of excuses not to say hi. I am a bit of an audiophile and although I am very musically inclined, I seem to have neither the direction nor the time to pursue music these days, aside from listening to it and dreaming that one day I could play like some of the other artists out there. Speaking of which, I would like to contribute with a few tracks of my own one day - any advice for this noobie composer would be appreciated. I like any music that invokes thought or feeling, whether it be acoustic, metal, symphonic, ambient, or just plain awesome. Great to be here!

Love this track - understated and beautiful. Almost makes me forget the fear of it being interrupted for a battle. Only point: It seems a tad busy once it reaches 0:38. I find part of the beauty of this song is the long, sustained tones; the little ... I don't know what to call it, the flute-y arpeggio-ish bit? ... fill that complements the intro seems a little too much for me at that particular point in the build-up, but matches perfectly after the 1:00 mark. Other than that, this is pretty darn amazing. Now, I'm off to Bruno ... or Zellis.