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OCR02557 - *YES* Castlevania 'Wild Night' *RESUB*


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Note: Former version was immediately rejected (aka letter) for being too liberal. Here I changed melodies, the breakdown has some differences, the guys from the project told me it was more recognizable now and I hope you guys feel the same way ^^"

Remixer name: Guifrog

Real Name: Guilherme Arcoverde

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P.S.: Made for Chernabogue's Castlevania project (Vampire Variations). Don't post before release yadda yadda yadda.

GAME ARRANGED: Castlevania

SOURCE:

REMIX NAME: Wild Night

BREAKDOWN:

0:00-0:12 - Windy arp plays source's 0:00-0:04. Kalimba goes source's 0:05-0:11.

0:13-0:25 - Original writing.

0:26-0:38 - Windy arp goes source's 0:00-0:04. Synths go source's 0:05-0:11.

0:39-0:52 - Windy arp with 0:00-0:04. Kalimba goes 0:05-0:11, delayed synth is 0:05-0:11.

0:53-1:18 - Source's 0:12-0:29.

1:19-1:31 - Windy arp with source's 0:00-0:04, flute with an original melody.

1:32-1:44 - Source's 0:00-0:04.

1:45-1:58 - Source's 0:05-0:11.

1:59-2:11 - Brass leads and plays source's 0:30-0:34.

2:12-2:18 - I love percussion! ^^

2:19-2:30 - Source's 0:30-0:34 by Mr. Brass.

2:31-2:40 - Ribbits.

2:41-2:48 - Windy arp -> 0:00-0:04; Kalimba -> 0:05-0:11; Delayed synth -> 0:05-0:11.

2:49-3:27 - Source's 0:12-0:29 until the end.

Chernabogue wanted everyone to give their own styles to the project, so I decided to make an entry and made an afro-electronica track. "Wild Night", because the way this mix turned out, I guess it's pretty much nightclub-friendly, crazy-dance friendly, party-hard frenzy whatever :P. That said, it's a mix of mixes, as I tried to give contraditory emotions to it - eerie, but dancey. Obscure, but fun. Some SFX have a pretty sutile haunted feel to them and things end in a fade-out; but the brass turn things somehow bright and the boom-tiss beat from the chorus will make you dance before thinking of getting scared.

Also, I was mostly influenced by Benin singer Angélique Kidjo when I made this. She's totally awesome!

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  • 4 weeks later...

Definitely more source in here, but will it be enough? Let's see!

...

ugh. I really enjoy this, but the source is shredded into such tiny pieces, that I have to guess on most of it. There are times when a constant source is present, but compared to the main portion of the track, it's just so obscure I can't tell. :-(

Samplewise, the brass seems a little dry and sequenced a little falsely, but I think everything else is pretty nice, though the flute could use a touch of delay as well.

Maybe I am just being a noob here, but I think it needs even more dominant source. Sorry Guilherme . :-(

No, please resubmit

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  • 2 weeks later...

Thought about this one for most of the morning, and I've been going back and forth. It's a pretty tough call on how the source is treated. I'm inclined to give it a nod, as there are plenty of moments that are very solidly placed in the source. That being said, it's still got a good deal of liberal sections.

Production is about on your usual par, where the instruments aren't sounding bad, but generally there's a mechanical feel overall that drags things down. I'll agree with Andrew's points in terms of the brass and flute.

Good luck in the rest of the vote.

YES (borderline)

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  • 2 weeks later...

Hmm, dunno if this is a matter of being pretty familiar with the source, but I was totally fine with the way it was used. His breakdown checked out but I was hearing it in all those places even before seeing it.

Apart from any source usage concerns, this seems like a solid pass. It's not perfect - those horns sound like Mario Paint horns - but a lot of good ideas, and executed well enough. Percussion breakdown was sweet. Fadeout was awkward, and I wish it had ended more conclusively but I'm still good with it.

YES

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  • 4 weeks later...

The electronica synth stuff at :53 & 2:49 sounded very out-of-the-box FL defaulty; not great, but it wasn't awful. Overall, what counts though is I'm really loving the overall direction and creativity of the arrangement. The woodwind sequencing (1:22-1:32) wasn't great, but it was brief, so the sequencing wasn't a huge hit for not sounding organic and human. The hand percussion sounded all sorts of crazy and energetic though.

Interesting dropoff at 2:34 that worked nicely before building things back up for the finish. Some people might have a problem with the fadeout, but forget 'em, it was a perfectly reasonable way to end it.

There were no source usage concerns here at all, and I didn't need the breakdown. Great usage of "Stalker," really altering it rhythmically to give it a completely different kind of energy without messing with it too much melodically. Just a really fresh take on things and a solid sub. It's not perfectly executed, but definitely a really nice suprise here.

I really can't wait to hear how Guilherme gets more deadly with his music as he improves his production chops and refines his sample articulations, but I'm feeling like the best is yeat to come. Nice work, bro!

YES

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  • 2 weeks later...

Initially when I voted on this track, I NO'd it on the basis of it being too liberal. However, now that I can actually see Gui's breakdown, it makes a bit more sense. I still feel like the source takes a backseat to original writing a lot of the time and I'd like the usage to be a bit more overt when it IS there, but I'm willing to give it the nod since it's a very borderline call and the rest of the track is absolutely fantastic.

I didn't have a problem with the obviously fake-sounding brass at all, I felt like it fit within the context of a quirky "little-bit-of-everything" arrangement that clearly doesn't take itself too seriously. If Gui was trying to go for a realistic jazz/orchestral arrangement those stabs obviously wouldn't cut it, but here it fits in just fine.

It's a tough call regarding source usage, but at the end of the day it seems like most people are able to recognize Stalker in here so it's good to go for me.

YES

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