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OCR02525 - *YES* Mega Man 9 'Morricone Man'


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"Morricone Man"

by Mazedude

from Mega Man 9: Back in Blue - http://ocremix.org/album/31/mega-man-9-back-in-blue

Description: "This is a case where I was invited into a remix project, being not very familiar with the game... and actually chose which track to do based on the original title. Mazedude remixing 'Maze of Death' just seemed like a good fit. As to the genre, there are several influences here. I really wanted to do some electronic fusion with an Ennio Morricone flavor. Then once I got into it, other influences leaked in... Native American, Tuatara, even some jazz. So yeah, it's a strange one, but fun... and definitely unique. (I do admit that I took some samples directly from Ennio Morricone and Tuatara tracks, so I can't take credit for inventing every sound in here.)"

---

Enjoy!

- Mazedude

http://www.youtube.com/watch?v=z96vMyb0beA

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I love the sound on this, and the song title is a definite reference to the style too. Very classy.

The problem is that I am having trouble finding enough overt source for this one to be a clear pass. It sounds like a lot of 'inspired-by' segments are in here, but not near enough direct source. I love the song, but can't pass it, unless of course I am completely missing something. :-(

No

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  • 4 weeks later...

I think you are missing something, Aibou, because I'm hearing the source (especially that bassline) throughout the mix. Plenty of little details that bring the source into this as well. Love the style adaption, works pretty well, especially since I found the source to be a bit lackluster. I dig.

YES

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  • 4 weeks later...

Yeah Andrew, check the bassline, it's been adapted into a melody line. There's definitely enough source usage in here for me to pass it :-)

I personally felt like there was some funk going on with the overall mastering on this song, I'm not entirely sure how to describe it, but I have a feeling it might be a compression issue, since the waveform seems to be peaking pretty uniformly for much of the song. When it breaks down and the percussion chills out a bit, things sound a lot more like they ought to. When the percussion is ramped up, it just has a washed out feel to it that I can't quite put my finger on.

That said, I still found the song to be very listenable and, while there definitely felt like there was something off, it didn't inhibit my enjoyment of the song too much. I'd like to hear from another judge or two about whether or not they're hearing the same potential issue as I am, but I'm okay with it as-is, really.

YES

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There's definitely a muddiness that needlessly obscures some of the details of the instrumentation. For example, the electric guitar strums or whatever that lead is at :17 ends up crowding out the drums and mallet percussion brought in at :33. The end result is really muddy. It may be the drums at :33 that are the culprit as well, like Emu's guessing at, but yeah, there's some production issues here. It may be purposeful to some extent, giving Chris the benefit of the doubt. It was nothing that was a dealbreaker to me, but the lack of clarity during the densest parts still drags the piece down a notch. Some EQ love would be welcome.

Good catch by Deia on the baseline from the opening section of the source being used here as a melodic part of the arrangement; that was surprisingly easy to miss. Over 2 minutes of the arrangement explicitly used the source just watching the clock, so I didn't feel the need to stopwatch it, but I can do one if it's really necessary.

Love the arrangement; well up to Chris's high standards and a pontentially risky combination of instruments to boot with the Morricone-inspired instrumentation. Aside from the production issues, this was an easy call.

YES

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