Metroid II: Return of Samus "The Unnamed Frontier" [SR388 Tunnel Theme]

[Pyro Paper Planes]

EDIT

May 30, 2012: I wish to thank everyone who gave advice to my mix. I've applied most of the suggestions in this topic, and have submitted what I think is the final version to Darren for Harmony of a Hunter: 101% Run (and I will send it to OverClocked ReMix soon). I'm still looking for criticisms for the track, but wish to keep all versions from here on in a surprise for the public. If you wish to hear it, please send me a Personal Message. Thank you again!

Old Version:

Source:

Metroid II: Return of Samus is a very unique Metroid title. Apart from introducing some of the series most established power-ups, it also featured composer Ryoji Yoshitomi. His work brings a wonderful ambience to the Metroid series, ranging from the chirpy Chozo Ruins, the eery depths of the Metroid lair, to the lighthearted surface of Planet SR388. On a whole, I feel that Metroid II is very underrated when compared to its older brother Metroid.

Out of my entire repertoire, SR388 has to be one of my most remixed pieces. It's a very versatile track, one that matches (if not outright better than) the original Brinstar theme in quality.

I've built each mix from the previous arrangement. And now, you end up with "The Unnamed Frontier". This time, I decided to go with a very electro-chilled piece. It's a very subdued, peaceful track. Overtime, the beat builds up with minor progression changes. Featured throughout the mix is a saxophone homage to "Phendrana Drifts" that fits surprisingly well with most of the Metroid discography. The final fadeout combines both progressions, with reverb coming up slowly to blur out the mix.

[Korak the Mad]

I like it.

It starts off with the Phendrana Drifts theme instead of that piercing beginning part. It sounds quite peaceful and it's really good.

It's a little too much bass to it though, and it's a little hard to hear the softer sounds in it. Otherwise it's pretty good.

[Pyro Paper Planes]

I like it.

It starts off with the Phendrana Drifts theme instead of that piercing beginning part. It sounds quite peaceful and it's really good.

It's a little too much bass to it though, and it's a little hard to hear the softer sounds in it. Otherwise it's pretty good.

Thank you.

Perhaps I should modify the EQ of the synth pads? Not sure about the bass itself, as it drives the track.

I'm hoping to submit this to OverClocked ReMix eventually...

[Phonetic Hero]

The pops before the piano comes in really bug my ears and make me cringe. Great groove going on when things get going, and the interpretation on the theme is cool, even though it's just one note for a while, it engages my brain because it's different. The first time that one altered note played I was like "whoa, wut!?" and then the second time it settled, but I was still really listening for it, which is a great sign of a captivating piece.

Toward the last third or so when you've got the guitar playing, the pads kind of block it out; I'd recommend bringing the guitar forward and pushing the pads back a bit. Or maybe gating the pads instead of an awkward volume reduction so the guitar cuts through a bit more. Still bring the guitar out more though.

Here's the biggie: personally, I'd bring the sax back for some of the tunnel theme to give the instrumentation a bit of a change up. Even though you've got the piano doing all kinds of great interpretation, the arrangement gets a bit stagnant because the piano's trying to carry the piece too much, which is a bad thing unless you're doing a piano solo arrangement. The sax could give you that same expressive element, but keep people engaged; it could actually be really cool, I'm hearing quite a few possibilities in my head (for instance, right after the Phendrana sax break in the middle, have the piano play like it does with the sax doing some screaming lead work and interp on the tunnel theme). Also, I'd recommend some live recording for the sax, sounds like MIDI right now, correct?

Hope all this is helpful

pH

[Sam Ascher-Weiss]

whatever mang... this here's tight!!

[Pyro Paper Planes]

The pops before the piano comes in really bug my ears and make me cringe.

The minor-clicking is from the vinyl-hiss effect. While I think this is a great texture to fill in the void there, it is possible to replace it... not sure what with though.

Great groove going on when things get going, and the interpretation on the theme is cool, even though it's just one note for a while, it engages my brain because it's different. The first time that one altered note played I was like "whoa, wut!?" and then the second time it settled, but I was still really listening for it, which is a great sign of a captivating piece.

Thank you. I was trying to vary up the percussion a little. I was thinking about adding a few extra FXs throughout, but decided to add them to the end of the piece instead.

Toward the last third or so when you've got the guitar playing, the pads kind of block it out; I'd recommend bringing the guitar forward and pushing the pads back a bit. Or maybe gating the pads instead of an awkward volume reduction so the guitar cuts through a bit more. Still bring the guitar out more though.

Yes, I agree. I think overall I should remove some of the bass from some of the pads once everything starts to come in, especially for the guitar. Maybe add a little presence to the guitars, etc.

Here's the biggie: personally, I'd bring the sax back for some of the tunnel theme to give the instrumentation a bit of a change up. Even though you've got the piano doing all kinds of great interpretation, the arrangement gets a bit stagnant because the piano's trying to carry the piece too much, which is a bad thing unless you're doing a piano solo arrangement. The sax could give you that same expressive element, but keep people engaged; it could actually be really cool, I'm hearing quite a few possibilities in my head (for instance, right after the Phendrana sax break in the middle, have the piano play like it does with the sax doing some screaming lead work and interp on the tunnel theme). Also, I'd recommend some live recording for the sax, sounds like MIDI right now, correct?

I agree, the piano needs to be changed up for something else there. At the same time, I like the different line that the piano plays there, and I don't want to change too many things at once for the listener. A real saxophone player might be able to work there though, or a heavily stylized saxophone... something like Stardust Beat.*

Hope all this is helpful

pH

It's very helpful. Thank you for your comments. So, to sum up everything that needs to be done...

- Cut down the bass EQ for the Synthesizer Pads.

- EQ the bass ever so slightly to add presence.

- Find a real saxophone player to fill in the MIDI saxophone, or heavily stylize it.

- Lower mix gain ever so slightly, to help remove distortion from the drums.

*Stardust Beat:

[big giant circles]

Cool, I love me some M2, cool chillout groove idea! The pause with the record static noise is too long, and I'm not sure I feel the sax, but I love the vibe. I'd maybe just consider going with some sort of portasynth or something. Also, be sure to get the max volume/clipping under control before you sub. Cool stuff!

[Monobrow]

Suggestion: 2:07: I don't like that piano playing the lead anymore... Up until that point, it's perfectly fine, but it seems way too exposed and anti-climatic when it hits the next section. I would replace it or double it up with something else, or maybe just get some accompany, chords, harmony, really anything to fill the space and basically let that part climax more.

2:45's drums IMO have too much reverb on them. Not WAY too much, but I don't think it would hurt pulling it back a bit. They get muddy and clashy, the boom I think is just a little too much. You have some clipping, and probably competition vs. the bass and the boom kick that may need to be addressed. Just overall, everything about the drum fx, and even maybe some of writing needs to be assessed in a "Is this necessary to get the point across?" way. You had a really good vibe, and it's still pretty good, but the drums are kind of distracting.

I think you can get the same kind of punch out of your drums in other ways, the way they are written sounds just like.. they keep banging notes over and over to re-emphasize that "HEY THIS IS IMPORTANT" but not really achieving it.

Also that clicky noise I think might be a little too stick-outish, especially later... I'd pull it back just a tiny bit.

It's hard to put my finger on exactly what to say about this mix, so I hope that helps. Good luck!

[Pyro Paper Planes]

I'm back from my mini-vacation! Sorry for the lack of responses, and thanks for all of your tips.

So, to summarize what I will change for V1.1:

- Decrease bass to pads.

- Replace the saxophone with a synthesizer of some sorts.

- Decrease the introduction static volume. Perhaps experiment with other effects, and shortening break?

- Change up the piano for another instrument on occasion. Perhaps in the chorus? (AKA 2:07, maybe 4:02).

- Change up the drums (AKA at the second part).

- Add a little more presence to the EWQL Choir.

- Add presence to the guitar.

- Improve transition at 4:21.

- Reduce overall gain on mix (give it a little more breathing room, fix minor clipping issues, etc).

I'll see if I can do that all for tonight.

[jordanrooben]

I've been looking at some of the older WIP's and found this one. I listened to it earlier, but didn't comment... Well, I'll remedy that now. I personally, only have a few issues with it. First, the reverb and delay on the sax seem a little overkill, and detract from it's effect. Oddly, I find the crackling before the main melody comes in is nice. Reminds me of a fireplace. The drums could benefit from having a deep kick. Maybe try something like that out, it couldn't hurt. Finally, I think changing the piano to a different instrument when it comes in the second time might help to advance the mix. Other than that, great atmosphere! Very chill and relaxing while also being exciting, with a touch of mystery from the piano. Try not to let this mix die, It's got a lot of potential, and a substantial amount of substance already.