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OCR01420 - *YES* Super Metroid 'The Mother is in Control'


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remixer name: Revolver Project

real name:Ty Scheuerman

public email: Psytronic@sbcglobal.net

website: http://www.revolverproject.tk

forum id: 28063 (Jack the Ripper)

game: Super Metroid (obvious enough? ..heh)

original track: Brinstar Red Soil Theme (yeah - my apologies that another mix of the same theme was so recently put up)

The mix is definitely my own sort of take on the theme.. the flute and strings and choral hits you hear were all created in a (somewhat) faithful sense, but were used primarily to link the track more closely to the original. I just recently returned to the mix after about 10 months of having it sit around, because I wanted to wait until I sort of knew what I was doing. I know the guitar can become somewhat repetitive (or at least it did to me while I was mixing), but I used to support the somewhat "inhuman" theme I had going in my mind while I was working. The two voice samples you hear in the song are both from the Hal 9000 computer in 2001: A Space Oddysey. I've heard that they're a little hard to understand to some, but they seem as clear as I possibly could make them since I returned to the mix. The words spoken are "This sort of thing has cropped up before, and it has always been due to human error." Later on in the mix is "I know that you are planning to disconnect me, and I'm afraid that is something I cannot allow to happen."

At the end of the mix, I just wanted to return to the original mix, and tone down the noise, because I think the original melody is really ingenious, and I just really had to make sure it made it into the mix somehow unspoiled by all the noisy guitars and drums.

That should about do it. This is my first remix submitted, you have my apologies if I somehow missed something.

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  • 2 weeks later...

http://snesmusic.org/spcsets/sm.rsn - "Brinstar Red Soil Swampy Area" (sm-20.spc)

Sounds weren't too strong on that lead during the intro, but the distortion and atmosphere was good. The HAL 9000 clips at :44 were decently used and have some effects on them to help them sit better in the track, althought they still didn't mesh quite as well as possible, IMO. The source tune came in at 1:09; sounds like it was sampled right from the SPC with the synths built around it. More vox at 1:47 while the lead gets some effects on it. Still waiting for more things to happen.

Finally got rid of that SPC-like usage of the melody at 2:12 and just stuck with the rock. Glad for that, otherwise that could have been an issue. The percussion ideas here were basic, but I liked how they were used. They really did a great job of driving the track along. The feel was changed up at 2:38 with some new ideas wrapped around the melody. Then we get some playing around with the rhythms at 3:04 which was good. More Hal SFX at 3:17. Godd transition at 3:53.

The arrangement as it were is pretty basic; it really sticks to the idea of the original, but presents a lot of flair and interpretation with the expansion here. Took a little getting used to, but the crunchy atmosphere created here worked pretty well. Really fits into the darker edge that a lot of Metroid rock mix fans enjoy. The Hal SFX was a bit cheesy, but it's not too much of a hit, plus while the arrangement's tempo didn't change much, there was a fair amount of variation in the piece.

The production really had the potential to turn into absolute dogshit of a mess with an idea like this, so props for creating something that sounds very full, distorted, and industrial without allowing the track to lose clarity. This is how you do it; maybe it's just me, but I feel a lot of people could learn from this. Track really grew on me. Nice work, Ty, and good luck with the rest of the vote.

YES

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I've always been a big fan of the *crunchy* distortion. It works well here to create a species of diffused-and-entertaining chaos. Not the biggest fan of how subdued the main melody is, but at the same time, I can appreciate the stylistic turn-of-phrase there. Heavy accompanyment, light melody. It's odd, but it works, I think. Sound samples I could have done without, they don't add that much (and might actually be detracting).

YES

one girl pwns this. LOFLZ

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Scary start going there. Good synth coming in over the 'storted percussion and guitar (nice by the way.) The rhythm guitar coming in sounds very eerie and powerful, the reverb is almost a little too much, but I'm willing to give it as it makes the mix sound.. larger, so to speak.

I can really dig the industrial sound here. The distortion is overbearing in some sections, but it's done well overall. I was cringing expecting the mix to be a whole mess of these distorted sounds. But after 2 minutes we head into the cream of this mix. The clear guitar, wonderfully clear industrial hits. powerful synthwork still working with that crunchy sounding distortion bordering on being over the top. The sound here is another hit or miss mix. You either like this stuff or hate it. This is produced well enough that I'm pleased with it.

I think the mix could have afforded to go for another minute or so to allow that mid section with the guitar to work on developing the theme a little more. The base arrangement is identical to the source up until the melody really kicks in after 2:12. The extra production work going on around the theme with the drums, guitar and distortion more than makes up for this adhesion to the source though.

Also, I did have trouble hearing the clips without reading exactly what they were saying.

YES from me. Nice industrial work. :nicework:

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