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OCR01992 - *YES* Salamander (MSX) 'Latis Surrounded'

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Hello There!

...Again, so much to tell:

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I'm Jorge Mira, alias commandcom, userid: 26178.

Original Track Name / Composer: Power Of Anger / Motoaki Furukawa

ReMix Track Name: Latis Surrounded

This is my second submission, so I will skip the personal details already stated in my first one, if you may.

This is the next "Push Space Key (A Konami Tribute) (EP)" track.

It is quite difficult for me to express into words what this track ment to me when I was a kid:

It was the main reason for me to play Salamander (Ok, I'm a huge Gradius saga fan). So powerfull, so inspiring, so tragic, so on-the-edge and so BIG.

Those were true emotions I felt while listening to it... BUT, as I am spanish, here in PAL regions those games (I played what I consider the best incarnation of all Salamanders, the MSX one) played slower than the NTSC verisons.

You know, they made the game at 60fps and, when translading it to 50fps, they just played the whole thing a little bit slower.

Gameplay was a little bit easier and, the most important thing for this submission, the MUSIC had a slower tempo.

I am used to that slower tempo. The source track I included is the original NTSC version, wich, for me, plays uncomfortably fast. :D

So that was an obvious first move, to slow it down a little, and then a little more, to find more "space" in time, you know, so it can flow in a different direction.

I'm aware that most approaches to remix this track were rock-oriented, or, at least. guitar oriented.

This is not my case. I'v allways felt it big, orchestrated, evocating.

The ReMix:

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Ok, many many years later, came Gradius V on the PS2, made by those incredible ex-Konami team named Treasure.

And that 2.5D shooter a-la-Ikaruga is not only the best incarnation of all gradius to date, but also has an amazing soundtrack!

THAT is the direction I wanted to take definatelly:

IF there was going to be a Salamander 2.5D a-la-Gradius V (Please, Konami, read this), this is the music I'd like to hear while playing the first stage, in which Latis is surrounded by Zelo's force and you have to fly there and save the day!

What did I use?

- Nuendo 4 / Reason 4, main tools.

- EastWest Symphonic Orchestra (Orch. Bits)

- StormDrum2 (Percussion)

- Omnisphere (Several percussive items)

- Voices of Passion (The bulgarian girl litte bits)

Arranged and mixed in N4, mastering in Ozone2 / Wavelab (light one, preserving dynamics)

Hope you enjoy it,

Jorge Mira

Diseñador de Sistemas | www.asvideo.net

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Thanks a lot for attaching a copy of the source, Jorge.

Salamander - "Power of Anger"

I'm getting a very similar vibe from this that comes off as fine, but when I checked versus the original, I'm not getting the full connection. AFAIK, some sections used the source overtly, then on the next iterations, would subtract those parts out and just use the arrangement's backing elements to match the chord progressions of the source and preserve the same overall feel.

I needed more than 82.5 seconds worth of source usage for it to be dominant. Here's what I came up with:

:24-25, :31-32, :48-1:18, 1:20-1:23, 1:27.5-1:32.5, 1:35-1:36, 1:59-2:00, 2:08-2:12, 2:15-2:20, 2:23-2:37

That was about 64 seconds or 38.79% of the arrangement. That said, everything was structured to mimic the progressions of the source, but that's not a significant connection IMO. I heard some liberal stuff as well that I wouldn't count. That said, I could be not picking up on some connections, so I'd need someone to clarify anything I should have given credit for.

As is, I love the arrangement, but as far as I can tell, it seemingly moves away from using the source tune overtly in favor of something that sounds similar, but isn't directly using the source enough. I'd like to get more opinions on this before I make a final vote.

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I think if this hadn't been 2 and a half minutes long and had more source sections, it'd be an easy descision, because this arrangement style is perfect for the source. I really love it.

What makes it more difficult for getting onto OCR is the extended intro. I hear the connection, but it needs a little bit more main melody connection in that area. Maybe have it hinted at in the piano part? Another option would be to have another time through the main melody, with some additional variation.

This is a great mix, and if it appeared as the official arrange music on a Konami album or game, I would totally think it fits, but it needs just a little more main melody to get past our stopwatch crew.

no, please (please) resub

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I don't know, I was pretty ok with this one. There's a couple connections I would count that Larry didn't in his breakdown, like 0:41-0:42 and 1:44-1:46 (a harmony of the rising melody of the original), and gaps like 1:23-1:27 and 1:49-1:52 where the chords finish out the figure. In addition, the bass part in the beginning is kind of a mash between the bass part in the intro and verse of the original, and I thought it was a reminiscent enough connection. There were enough passing references to the source parts that the chord connection used almost throughout was countable to me.

The arrangement forges its own path, building minimal electronic elements with some heavier orchestral stuff. Sounds a bit like Nick Singer's stuff but more emphasis on the beat. I think sometimes it gets too colored, but Jorge always pulls back on those notes quickly and the new chord at 2:12 was a beautiful alteration. I think it's a pass.

YES

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:24-25, :31-32, :48-1:18, 1:20-1:23, 1:27.5-1:32.5, 1:35-1:36, 1:59-2:00, 2:08-2:12, 2:15-2:20, 2:23-2:37

Notes and additions:

:32-:34 - arranges 0:22 from the source in the background

:40-:42 - arranges 0:22 from the source in the background

1:36-1:38 - arranges 0:22 from the source in the background

1:44-1:46 - arranges 0:22 from the source in the background

Like Palpable I'd also count stuff like 1:23-1:27 where the chords finish the passage, chords that are also present in the source, because it makes the track more cohesive. Beyond that there's also the small hints like at 0:23.5 and 0:47 recurring throughout the track which makes it more cohesive. Beyond that the chords are the same from 0:17 and forward, quite characteristic chords at that. Overall, I'm cool with the arrangement and it gets close enough to 50% when counting my way and considering the glue between the straight source parts.

Production was solid, really love the fusion between electronic sounds and "real" instruments. There was some nice power in the track and you created a great mood. This is a solid piece of music Jorge, great work, but do throw us some more source next time ;)

YES(borderline)

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It could be longer, but I think it's pretty solid. I dig it when the vox comes in. Very chill, yet it still has an edge. Great pumping piece.

YES

I think the source usage is fine, and I just want to say that I think stop-watching stuff like this: " :48-1:18, 1:20-1:23" is taking it a little too far. Really, the two seconds between 1:18 and 1:20 don't count?

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Weird that i'm callin NO on this one. Taking into account Anosou's extra source I didn't quite catch, and my love for the track, I'm definitely not too proud to see that I was incorrect.

So rather than have this sit for eternity in the queue, I am going to change my vote.

yes

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