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OCR02420 - *YES* The Sims 3 & The Sims 'Musicolours'


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Remixer name: Guifrog

Real name: Guilherme Arcoverde... I think you turn green when you see it already, don't you? Anyways, I'm skipping the rest of my information ;P

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GAMES ARRANGED:

1) The Sims 1. Source: Main Theme -

2) The Sims 3. Source: Main Theme -

REMIX DATA:

Name: Musicolours

Breakdown:

Source 1 (The Sims 1) -> 0:08-0:48; and 4:18-4:34.

Source 2 (The Sims 3) -> 1:03-2:24; 2:50-3:13; and 3:35-4:01.

P.s.: Due to my intuition, I'm informing you guys that the 2:50-3:13 corresponds to 0:22-0:34 of source 2. Just tried to made it sound 'darker' on this part, and the mods from the WIP forum told me it's okay. That being said, I suppose the rest's easy to recognize.

I'm so excited to send this, I couldn't wait. The huge amount of NO's I've already gotten, as far as I could see, were mostly due to issues on production. Then, a few months passed by, and I had a great idea for a remix. I couldn't help but immediately create the thing and post it on the workshop, just in order to make sure this would make it safely afterwards. I became so amazed when I saw the response - some minor tweaks here and there, and it would be ready. I'd like to thank Emunator and Level 99 for their great support, and finally provide you the (HUGE) backstory behind this track.

BACKSTORY:

I'm now treating instruments as people. They've got different genders: the ones that have a bass, heavier sound, I'm treating as "male"; the softer, high-pitched sounds are "female". That's how I feel it, but you can interpret in a way other than genders. It's musicolours after all, and it's about diversity of love. (with a lil' Irish touch, which is why I call it musicolo'U'rs)

It opens with an harp. During the whole song, harp represents love itself; so, it starts things for an accordion (the male one) to take place, until it's followed by the flute (female one). If you pay attention, there's also the pizzicato/violins (female) that harmonize with bass/cello (male). There's mutual love between the instruments during the whole beginning, as they dance along with the flow. Highlight for the glockenspiel, by the way - it's a sweet, innocent child.

But things actually turn to get interesting afterwards. The mellow and introspective song turns into a happy, open-hearted dance tune; bass (male) now totally follows the cello (male); the flutes (female) walk and dance on the floor, when suddenly, violins (female) follow them, until both harmonize together! Now you can see where the real colors of the song reside, as the harp (love) comes to celebrate the new pairs; still, you can see that kick (male) complements hihat (female), accordion and flute are still a pair, and the diversity is fully established.

And then, piano introduces itself. I can't tell who he/she is, exactly. But, very often, the melody it plays consist of same notes in different octaves, which makes more pairs - high-pitched and low-pitched ones. This part is more melancholic, to symbolize the fact that, behind such a freedom in love, not everything's about flowers. There's always those who don't accept it, making a conflict to set up: groups of instruments get angry at other groups, and start fighting. Something like "Who plays louder? ME!" And the harp suffers. It tries to make it through, without success. Why is this happening? In real world, they give many reasons, but glockenspiel can't understand that. It was happily dancing with the pairs during the song, but after the timpani sets another mood it just asks "What? Why? How?". Piano has the obvious answer, something like "Sadly, it's just one from the many bad parts of our reality." And it begs for everyone to stop. A few other instruments follow it. Then the harp stands up, and blows up, and erases everything.

After a moment, harp draws a new scenario. A very simple, comfortable and better one. And look, it's the glockenspiel again, jumping around like a little tweety bird! The perfect mood for everything to start again, happier than before. Tweety very much likes it, and as the song abruptly seems to end...

...The melody from the beginning. The accordion. And the... Cello?! Yup. As everyone's in piece now, one of the cellos finds it okay to dance a piece of semiclassical music with an accordion. And all the instruments, in every possible color, come to praise and finish the track. Including lil' glockenspiel.

If only every single person was an instrument, and the human population was music, and things could be settled so easily like this... Well, I'm sure you guys get the message behind this track, but I need to take a position on it - most of the time, I feel like a lil' glockenspiel. Seriously ;P

And I'm sorry for the loooooooong e-mail! My, it went longer than I thought...

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  • 2 weeks later...

Pretty nice, with a solid groove and some pretty nice sequencing, for the most part. The soundscape was creative and worked well, and the source treatment fit well; the theme combination worked out nicely. The additional sections and transitions were solid and fit well, and the energy was really nice.

Upbeat and pleasant, with good source use and pretty solid production? Sign me up for a

Yes

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  • 2 weeks later...

Love how the themes are combined here, and as usual your writing is great. I'm still feeling like you're sounds aren't as real as I'd like them to be, and it's pulls away from the track a bit. Sequencing is also a bit stiff, which contributes. Still awesome to listen to, though, and for me it's a

YES

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  • 2 weeks later...

This is cute and fun, but there are some writing quirks that really could be improved. The writing throughout is quite mechanical. The strings play too many whole notes during certain sections. Just because an instrument is a pad doesn't mean it needs to be rhythmically boring. There are also way too many parallel octaves and fifths (e.g. 1:50, throughout). It makes it hamonically really clunky and uninteresting, and this problem persists throughout.

The other thing is that the beat is really generic, really repetitive, and doesn't exactly fit with the rest of what's going on here.

NO

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Nice use of instruments and soundscape here. Liked how everything fit together, mixing wise - even when the boom tiss joined in.

Definitely hearing the stiffness in the various parts. Really could use some humanization in the leads at the start & string stabs/plucks. Wasn't a big fan of the constant bass drum rumble at 2:57, but fortunately it didn't last long. Some hits in this section sounded like they may be causing some minor distortion from pushing the levels too hard, so be careful for those in the future.

Nice use of sources, which was clear throughout here. Creativity points for the dance beat & synth meets happy orchestra.

I can see where Vig is coming from here. A little less cookie-cutter electronica beat would've been nice. Getting the orchestra parts more natural sounding would also help quite a bit. Still, looking at the overall package, this is a solid mix and I'm fine with passing it.

Yes

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