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OCR02041 - *YES* Mega Man 2 'Coiled Copper Wire'

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Song name: Coiled Copper Wire

Contact Information:

Your ReMixer name – Level 99

Your real name - Stephen Bortz

Your email address – level99remixteam@gmail.com

Your website –

Your userid – 13318

Submission Information

Name of game(s) arranged – Mega Man 2

Name of individual song(s) arranged – Metal Man

Composer: Manami Matsumae, Ogeretsu Kun, Yoshihiro Sakaguchi

The OST is already on the site.

Comments on the song:

Another three weeks, another submission on my part. I have my fingers crossed that you don't end up marking me as spam, because I'm certainly not trying to sell you drugs or help you please your mate. I mean, I can do those if you want me to, but I digress. This is more about pleasing of the ears, than anything.

Mega Man 2 is one of the most remixed games on OC ReMix. With 42 mixes, it stands as a classic example of a game soundtrack, made in an era still limited very greatly by sound hardware, that will remain embedded in many gamer's minds forever because of how catchy it is. It's all upbeat, active, and has the rare quality of conveying the levels and end-bosses associated with each level. Metal Man's stage, in particular, has an 8-bit factory feel, cold and mechanic in sequencing. I greatly enjoy the song, but I wanted to take it in a different direction.

It's no secret that I love my guitars, both acoustic and electric. Metal Man's track lends itself very easily to electronica, rock, and metal, even DJP saying himself that it would make an awesome Metallica-esque song. But an acoustic rendition that starts mellow and then switches to upbeat? Yeah, not the first thing that comes to mind for this source.

This one starts slow, with a small introduction to the style with three acoustics, using one of the three main "melody" parts from the source coupled with some original topping and low reinforcement. A much more somber rendition with a bit of original spinning on the lead, and there is a fourth guitar doing some low power chord support from here until the song changes styles. Since I love mental images, this is the kind of music that would play 50 years after Metal Man's factory has been shut down, and he's the only one left around the tattered remains of the rusted machinery.

And then the switch up. Less somber, more active, and a bit less folky. Only three guitars here until the ending where four pick it up. I've had people make comments that I should have added light percussion, and initially I had planned on it when it was in the WIP forums, but in the end I really wanted to do a mix with acoustic guitars only. I believe the playing style is rhythmic enough, though.



:02-:13, :17-1:28, 1:48-2:40, 2:41-2:57

The entire song is based primarily on the source. The first part incorporates the Metal Man arpeggio on the left guitar, while the lead improvises a little on top and the right reinforces the base chords. The song from :17-1:28 is identical to the progression of the base chords of the source, and the lead is primarily an interpretation of the lead melody from the source with some ending phrases and improvisation as well (not too liberal as it still hovers around the original whenever it becomes interpretive). The second section is just a speed-up with the same base progression, though the arp is primarily missing. The lead again is mainly following the melody of the original with some additional improvisation during some parts here, though the base is, as I said, identical in progression (just translated to be chords on guitars). At 2:40 it's the basic source chord progression with some rests while the arp is brought back as a lead and harmonized until the original portion of the ending (2:57 until end). 11 + 71 + 52 + 16 = 150 seconds of source usage in a roughly 200 second-long song. 75% source usage based on loose multisection analysis. I counted source usage as any usage of the original source, be it basic chord progression, the melody, or the arp, in any way.

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Very interesting and cool way to arrange this classic track- Nice clean and clear recordings, and an almost Led Zeppelin ballad vibe in the first half.

It's pretty obvious there is enough source here, and the arrangement is very personalized. I think it could stand to be normalized a bit, as it's slightly quiet, but this is a pretty easy call for me. I love the harmonized arpeggio at the end. :-)


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Wonderful arrangement. You've succeeded in doing an adaptation to a rather minimal style without it becoming simplistic or boring. Well done. The mix sounds pretty good too; if I were going to nitpick I'd say the lead guitar could use a little more midrange. Sounds a bit scooped. I also would have picked a different reverb. What is that, a plate? I might have gone for something a little darker and more natural sounding.


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  • 2 weeks later...

Not much to say on this one. Great personalized arrangement, it adds a nice introspective feel on the source. Meanwhile, it's still easily recognizable, with new twists. I agree with Andrew that it's a little quiet, and could be brought up a notch or two.

Nice work. YES

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