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  • Real Name
    Steven Kenneth Bonnell II
  • Location
    Omaha, Nebraska
  • Occupation


Artist Settings

  • Collaboration Status
    3. Very Interested
  • Instrumental & Vocal Skills (List)

NeoDestiny's Achievements


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  1. SC3? SC4????? I'm sorry, there's only one upcoming SC that I'm interested in.
  2. This is a really fun remix! The pitch bend at 0:29 was really cool, and the font used for the melody sounds very clean and smooth. ...Wait, then what? WHAT IS THAT??? THAT BASSLINE DOES NOT FOLLOW THE MELODY AT ALL???? WTF??? I'm sorry, but there's no way this remix should be on this site. It's a joke. The bassline is a standard techno I/IV/V progression, the "solo section" at 1:03 is just a random barrage of notes. They don't remain true to the original chord progression of the song or the completely random chord progression of the bassline. ARGGG...That bassline just KILLS me, it's COMPLETELY non harmonic?!?! I normally don't review remixes, but every time this remix comes up on my playlist I just get completely pissed off, I don't know why. The production value is clean, but nothing is done with the melody at all. There is nothing brought to the song at all, there is no imagination, there is no arrangement. There is never any harmony present, nothing interesting is done with the melody (except for that masterfully handled keychange). Why is this on the site..? ~NeoDestiny
  3. Thats really simple. You slide your pinky from Bb to A, play E and C with your middle and ring finger, slide your index from Bb to A (an octave lower from the first Bb and A), and use your thumb on the lower E and cross over with your index to hit the final lower C. I like this remix, but his use of slowing down the tempo momentarily occured so often that it lost its dramatic effect, and made me wonder if he practices with a metrognome. Erm...Check this out, this is a revolutionary technique I use. I play the top notes, Bb and then A, by sliding my ring finger from the Bb key to the A, then I play the F and D with whatever fingers I feel like using at a time, and then...Here goes, ready? I move my entire hand down and repeat the same thing at a lower octave. It's really not that hard. =b Also, someone mentioned that the notes in this piece sound similair to the end of a Chopin etude. Well, notes usually move in patterns, the Jenova notes that you hear in those falling arpeggios are all minor seventh chords. (D F A Bb) Also, the metronome comment...Eww. Metronome DESTROYS some piano pieces, I can't stand listening to a completely metered piece on the piano, it destroys the piece completely. I'm glad Noir maintained a nice rubato throughout the piece. Thank you for the sheet music, sir. =b ~NeoDestiny
  4. Among everything else, I'm glad someone finally did a remix where the sax wasn't used as the stereotyped "jazz" monster it's normally portrayed as. Don't get me wrong, Jazz is great, but a well vibratoed, warm sounding Saxophone can sound as beautiful as a violin. ~NeoDestiny
  5. Very sexy guitar, almost makes me want to wet my pants. As DJP stated in the write-up, the added little guitar effects fit perfectly into the song, too, never completely distracting the listener from the melody, but never floating around in the background making you think "Wtf? Was he just looking for extra stuff to put into the song?" =) ~NeoDestiny
  6. Maybe it's just me, but I absolutely LOVED the section around 2:57 where it broke out into a sort of orchestral jazzy movement and I think the remixer should have carried this mix on for at LEAST another minute and a half to capitalize on this more, seeing as how it was the main "remixed" part of this song. ~NeoDestiny
  7. The thing that bugs me the most about seeing the Mascots is that you sometimes see Mascots that have no actual remixes from the site. One example is Snake. Yes, there are Metal Gear Solid 1 and 2 remixes on the site, but the picture is a cleary a one of Metal Gear Solid 3, yet there are no remixes of the sort to be found here. Puzzling? ~NeoDestiny
  8. Excellent. I can't think of many other words to describe it, but when I think of lyrics being put to a game song, I'm either bias against it immediately or I take the time to listen to it and kick myself in the face for not being bias against it immediately. But this is completely different. I'm not a remixing expert, nor am I experienced in the infinite technicalities of using the software required to remix music, but I'd like to point out how difficult it would be to add lyrics, effectively, to any musical score originally written for a game. This score carries with it predetermined emotion, a set of events, characters and a tone that's all preset by something a musical artist, no matter how good, could never present to you - a scene. Pictures. Graphical beauty. Could you imagine trying to add words to the Aeris theme without destroying the moment that it captured? I, personally, think the vocal track went along very well with the music. Remember, it's extremely hard to think up these things, so you have to understand where this guy's coming from, you know? Someone commented earlier on how the words something didn't fall right on a beat, and that they felt sort of crammed in or out of place. This, I agree with, for the first time listening to it. But after you listen to it again, you notice it's sort of set in a "I couldn't care less about all the technical stuff, I'm just trying to convey what I'm feeling here" attitude, hence the "spoken-word" soundtrack and not a glorious, opera chorus track or something of the sort. As for the lyrics themselves, it's hard to tell whether or not this guy's trying to focus in on a single subject, or if he's trying to leave the song more universal. I don't know the artist, personally, so it's hard to say how deep he'd try to delve into the exact wording of the song. Well, if you're reading this and you're on a Beta version of AOL 1.4, connecting from a Pentium 0.3 Dell and you're considering an investment of multiple days to download this piece, I'd definitely recommend it. ~Steven
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