DarkeSword

Mega Man X: The Sigma Fortress Remix Gauntlet 2015

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Before making this long post, let me thank my fellow team mates for their help that really made the track a lot better! Thanks to Eino for his collab on the lyrics (a fun and inspiring online co-writing session) and to Tuberz for his vocals and all the extra work he had to do because he had no gear :)

 

Setting the plot for the lyrics:

 

Imagine this dystopian society led by evil overlords X and Zero, where everybody is turned into unemotional robots. Our protagonist Gravity Beetle is a renegade who still believes in the power of funk to set you free.

 
verse 1:
in the year
two thousand and XX
all the mavericks are
contained
 
locking their emotions
into place 
making everyone
the same
 
dancing is forbidden 
by the law
and offenders are 
detained
 
(the) only time to get 
into the groove
is with nobody else
around
 
pre chorus:
is it only me
who likes these funk beats?
 
is there no one else
who moves to this groove?
 
chorus 1:
ne-ver
gonna give
up the funk, baby
 
ne-ver
let your head down (that's for sure)
 
ne-ver
gonna leave
from the dancefloor, no
 
ne-ver
gonna give up
 
verse 2:
there i was just walking down the street
trying to act all robot-like
but the music playing in my head..
i just could not follow the line
 
here comes Zero, full into the chase
to hunt anyone standing out
run for your life, soul and heart ablaze
don't stop running until you're safe
 
chorus 2:
ne-ver
gonna give
up the funk, oh my
 
ne-ver
let your head down (that's for sure)
 
ne-ver
gonna leave
from the dancefloor, no
 
ne-ver
gonna give up
 
verse 3:
with the music playing in your head
let the rhythm guide your feet
(the) funky moves that make you feel alive 
are the road that will set us free
 
everyone is fully in the groove,
and now anyone can see
come join us, I’ll show you how to move
and now nothing can stop the beat
 
---------------------->8---------------->8-------------------->8----------------
 
And finally a bit of source breakdown:
 
- 0:04 - 0:18 - intro arp from Cyber Maze Core (0:02-0:15)
- 0:18 - 0:47 - lead from Cyber Maze Core (0:18-0:43)
- 0:48 - 1:03 - lead from Cyber Maze Core (0:47 - 0:59)
- 1:03 - 1:18 - lead from Gravity Beetle (0:26-0:50)
- 1:18 - 1:32 - as above but also with Gravity Beetle (0:01-0:07)
- 1:33 - 2:02 - see 0:18-0:47
- 2:02 - 2:31 - lead from Cyber Maze Core (1:01-1:26)
- 2:31 - 3:01 - see 1:03-1:32
- 3:01 - 3:30 - see 0:18-0:47
 
I’ll leave it up to you to find the references to the 3rd source (there’s at least 3!)

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Great round (last week), many high scores in my list ;) here's my reviews, and again, sorry for the late voting/reviewing:

 

KingTiger - Es-cop-ay:
 
The transition from the heavy reverb sfx to the very clear vocals is not perfectly smooth. On the other hand: very clear vocals! ;) I hear the Crescent Grizzly bits here and the piano chords mimick the Gauntlet theme. Some words feel a bit unnaturally streched, but otherwise: well done man! The part at 0:55 with the double vocals works very well and gives a nice change in dynamics. At 2:25, things are getting a bit repetitive. The birdge at 2:45 is a good change in dynamics and is well executed, a bit short though. Nice work man!
 
Creating such a song in a week; kudos! Crescent Grizzly is sparse, but it's there and it's blended together with Sigma Palace.
 
8/10
 
Cam3 - Crouching Tiger, Hidden Maverick:
 
Cool mood; militaristic with a touch of funk. Snare sample isn't that good though. Gauntlet source is very clear. Transition to an adapted version of Neon Tiger works very well. Transition part at 1:45 is very well done, I love the high disonnant piano at the end. In the part afterwards, the Sigma Palace chord progression is very recognizable. Awww.. it's already over? Too bad man, it felt a bit cut short. 
 
Awesome stuff, great adaptations and nice vibe (especially a transition from genres). Too bad it feels cut-off (or too short at least)
 
7.5/10 
 
Eino Keskitalo feat. Jorito & Tuberz McGee - Subtle Haystack Tibulation:
 
Intro feels like the boss introduction theme, since it completely falls silent (which isn't a good or bad thing, just reminded me of it :P). Guitars are a bit buried. Combination of instruments is interesting but doesn't always work imo. Middle-section is nice, with the weird rythm. But I have a real trouble of recognizing the sources. I hear Frost Walrus in the middle section, but I couldn't indentify the Sigma Palace theme. Part at the 3-minute mark is cool, but feels disconnected due to the completely different sound.
 
Nice mix, nothing too extraordinary though imo. Can't hear much of the gauntlet source, guitars are a bit buried and not every instrument works well in the soudscape. Ending feels a bit disconnected.
 
7/10 
 
Garpocalypse - Straight Outta RAGE:
 
Good intro of setting the vibe and the groove. Altered Flame Stag theme kicks in, creative writing! Oh I like the choirs in the background at 1;20 and I like the female vocal samples. The part at the 3-minute mark is a good change of pace; percussion is nice as well. The transition at the 4-minute mark also works well. The mix doesn't drag on due to the different dynamics despite it's lenght, well done! I've tried to hear the Sigma Palace theme, but I couldn't hear it unfortunatly.
 
Great vibe, excellent creative writing on the Flame Stag theme and nice dynamics keep the mix interesting. Couldn't make out the Gauntlet theme, sadly.
 
8/10
 
WillRock feat. Jason Covenant & Ghetto Lee Lewis:
 
Also a very militaristic feel. Guitars fit nicely with the heavy reverb. Nice dramatic adaptation of the Guantlet theme with the choirs and organ. Don't like the sound of that brass too much; although a fine adaptation of the Maverick theme. I like the choir part more (with the same-ish adaptation). Birdge at 2:30 is nice, but doesn't change the dynamics too much. 3:09 part is a good change of dynamics, nice Maverick source usage. Still don't like the brass sound though. Accompanying instruments are very good otherwise though. Wailing guitars for more dramatic effect: check. Harp and piano (and later choir) section? Really? Really cliche, but works well :P
 
Good feel, creative writing and good blending of themes. I thinks the dynamics should've been changed a little sooner, but the following parts are really well executed
 
8.5/10 
 
Amphibious - Chiral:
 
Piano intro plays the Sigma Theme chords (well one note of them anyway). Shit got electronic at 0:35. Not too fond of the synths used, since their delay causes every note to be hit just after the beats. Lead synth enters at 1:10; don't hear much of the Maverick or Gauntlet theme here. Transition back to the "intro" works fine. "Fade in"-transition works well as well. Nothing much happening from 2:39 though; the change in dynamics in the part at 2:45 feel a bit too sparse for me, especially for an ending.
 
Mix is nice, vibe is good. Not much going on the the themes though. Not much going on at all actually, especially after the bridge.
 
6.5/10 
 
Anorax - Beached Whale in Miami:
 
Intro is nice, not too fond of the vocal samples. Oh wow, brass... works well. Choirs come in for the Sigma Palaca. Things feel a bit empty at the 1-minute mark when the Bubble Cr... eh.. Tidal Makkoeen part sets in. And it's over.
 
Yeah, this one isn't finished by far. However, the setting of the mood was good; this could really become something awesome
 
4/10
 
Usa - Requiem for a Reploid:
 
Brass and strings open for a calm, but grand and ominous feeling. Oh, the choirs and harp are a nice addition. Damn, really dramatic openening (which is good)! Sigma Palace theme kicks in at 0:50. Oh the Maverick theme in the pizzicato strings is a nice, but the 1:09 - 1:13 doesn't work that well; perhaps you should've rewritten that. THings beomce a bit more hopeful at 1:17. Part at 1:35 is nice, reminds me a bit of Secret of Mana/SD3. This gets more and more soothing and bright. Playful even at 2:20; gets a bit Danny Elfman here. More Shield Sheldon, which works better in this vibe. Brass hits at 3:01 are a bit thin. Transition to 3:08 is very nice, excellent building up, but I feel the volume should be a bit higher here (especiallyy in contrast with the previous part). Gets more and more intense, but I'm missing an great climax; the transition to the piano (which begins in a different chord) doesnt work too well. Ending is nice though.
 
Great song, excellent "story"/build-up/dynamics! I'm missing a bit of a climax, the second-to-last part could be more intense (choirs or volume), the last transition didn't work too well and there was not very much of the Gauntlet theme throughout
 
8/10
 
Cash - Victory at the Palace of Rejects:
 
Hmm... intro sounds a bit empty. Percussion sounds a bit weak, perhaps with a fuller drumkit (or one with mroe punch), this could be better. Background and bass synths are also a bit thin; or perhaps should last a bit longer. And the new synths at 0:42 are completely the opposite :P Part starting at 1:12 is better: soundscape is a fuller here, a bit more going on. Part at the 2-minute mark is dull; the song is going nowhere at this point imo. The variation at 2:13 is nice, but lacks the full changes in dynamic; a different beat or bassline (or perhaps feel) would be better. Mix drags a bit on around 2:50. Not too much variation afterwards. And I couldn't hear the Gauntlet theme very well
 
The mix feels a bit empty; mostly due to the drums and the thin bass and background synths. Didn;t make out Sigma Palace and the mix lacks dynamics; it drags on a bit around the 3-minute mark
 
5/10
 
Ivan Hakštok - Leap of Faith:
 
Epic intro! It's a bit strange that the intro has more power than the part afterwards though. Nice guitar playing. Drums could use some more crunch. Alternating guitar action is nice. Can't make out much of the Gauntlet theme though. Accoustic part is nice, transition to it works well although I hoping for some melodic changes here aswell. Timing of the guitar is loose at parts. Double guitar action is always awesome. Wow sudden ending
 
Sounds good, but lacks a bit of a punch. Couldn't hear the Gauntlet theme and the ending was too sudden.
 
7/10

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Musical theorist types! Would I be right in thinking this track is F major?

Usually its easiest to focus on the bass. When I hum the beginning into a tuner I get a D. It could change after the intro though. Only way to really know is figure out all the notes though and look at the scales to see if all the transcribed notes fit for the section you are looking at.

 

Here is a useful link.

http://www.cs.cmu.edu/~scottd/chords_and_scales/music.html

Do the notes fit on any of these scales (Since you think it is F)?

PS: To all the veteran musicians. Is this good advice / terrible advice? Do I know what I'm doing? I don't want to steer people wrong but if my system is wrong or can be improved I'd love to be enlightened.

 

F Major F G A A# C D E F natural minor F G G# A# C C# D# F harmonic minor F G G# A# C C# E F melodic minor F G G# A# C D E F major pentatonic F G A C D F minor pentatonic F G# A# C D# F blues F G# A# B C D# F minor blues F G G# A# B C C# D# F major blues F G G# A A# B C D D# F augmented F G A B C# D# F diminished F G G# A# B C# D E F Phrygian-Dominant F F# A A# C C# D# F Dorian F G G# A# C D D# F Phrygian F F# G# A# C C# D# F Lydian F G A B C D E F Mixolydian F G A A# C D D# F Locrian F F# G# A# B C# D# F jazz melodic minor F G G# A# C D E F Dorian b2 F F# G# A# C D D# F Lydian augmented F G A B C# D E F Lydian b7 F G A B C D D# F Mixolydian b13 F G A A# C C# D# F Locrian #2 F G G# A# B C# D# F super Locrian F F# G# A B C# D# F whole half diminished F G G# A# B C# D E F half whole diminished F F# G# A B C D D# F enigmatic F F# A B C# D# E F double harmonic F F# A A# C C# E F Hungarian minor F G G# B C C# E F Persian F F# A A# B C# E F Arabian F G A A# B C# D# F Japanese F F# A# C C# F Egyptian F G A# C D# F Hirajoshi F G G# C C#

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This week's Sigma Theme is Sigma Fortress 2 from Mega Man X.

 

I've always felt this song needed more love. It's so bangin' it's Rangda Bangdin' :D

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Somewhat.

 

First section has the bass playing D and the lead playing mainly on D minor (notes you pointedout above) but there are some places where the lead plays a B instead of Bb.

 

Second section has the bass going D, C, Bb, A.

 

Third section has more of a moving bass but core notes seem to be D, G, Bb, A.

 

You can figure out chords on top of that but the song doesn't have chords as background so...

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Usually its easiest to focus on the bass. When I hum the beginning into a tuner I get a D. It could change after the intro though. Only way to really know is figure out all the notes though and look at the scales to see if all the transcribed notes fit for the section you are looking at.

 

Here is a useful link.

http://www.cs.cmu.edu/~scottd/chords_and_scales/music.html

Do the notes fit on any of these scales (Since you think it is F)?

PS: To all the veteran musicians. Is this good advice / terrible advice? Do I know what I'm doing? I don't want to steer people wrong but if my system is wrong or can be improved I'd love to be enlightened.

 

F Major F G A A# C D E F natural minor F G G# A# C C# D# F harmonic minor F G G# A# C C# E F melodic minor F G G# A# C D E F major pentatonic F G A C D F minor pentatonic F G# A# C D# F blues F G# A# B C D# F minor blues F G G# A# B C C# D# F major blues F G G# A A# B C D D# F augmented F G A B C# D# F diminished F G G# A# B C# D E F Phrygian-Dominant F F# A A# C C# D# F Dorian F G G# A# C D D# F Phrygian F F# G# A# C C# D# F Lydian F G A B C D E F Mixolydian F G A A# C D D# F Locrian F F# G# A# B C# D# F jazz melodic minor F G G# A# C D E F Dorian b2 F F# G# A# C D D# F Lydian augmented F G A B C# D E F Lydian b7 F G A B C D D# F Mixolydian b13 F G A A# C C# D# F Locrian #2 F G G# A# B C# D# F super Locrian F F# G# A B C# D# F whole half diminished F G G# A# B C# D E F half whole diminished F F# G# A B C D D# F enigmatic F F# A B C# D# E F double harmonic F F# A A# C C# E F Hungarian minor F G G# B C C# E F Persian F F# A A# B C# E F Arabian F G A A# B C# D# F Japanese F F# A# C C# F Egyptian F G A# C D# F Hirajoshi F G G# C C#

 

I have been trying to find this page again for months. You are a gentleman and a scholar.

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Usually its easiest to focus on the bass. When I hum the beginning into a tuner I get a D. It could change after the intro though. Only way to really know is figure out all the notes though and look at the scales to see if all the transcribed notes fit for the section you are looking at.

 

Here is a useful link.

http://www.cs.cmu.edu/~scottd/chords_and_scales/music.html

Do the notes fit on any of these scales (Since you think it is F)?

PS: To all the veteran musicians. Is this good advice / terrible advice? Do I know what I'm doing? I don't want to steer people wrong but if my system is wrong or can be improved I'd love to be enlightened.
 

F Major F G A A# C D E F natural minor F G G# A# C C# D# F harmonic minor F G G# A# C C# E F melodic minor F G G# A# C D E F major pentatonic F G A C D F minor pentatonic F G# A# C D# F blues F G# A# B C D# F minor blues F G G# A# B C C# D# F major blues F G G# A A# B C D D# F augmented F G A B C# D# F diminished F G G# A# B C# D E F Phrygian-Dominant F F# A A# C C# D# F Dorian F G G# A# C D D# F Phrygian F F# G# A# C C# D# F Lydian F G A B C D E F Mixolydian F G A A# C D D# F Locrian F F# G# A# B C# D# F jazz melodic minor F G G# A# C D E F Dorian b2 F F# G# A# C D D# F Lydian augmented F G A B C# D E F Lydian b7 F G A B C D D# F Mixolydian b13 F G A A# C C# D# F Locrian #2 F G G# A# B C# D# F super Locrian F F# G# A B C# D# F whole half diminished F G G# A# B C# D E F half whole diminished F F# G# A B C D D# F enigmatic F F# A B C# D# E F double harmonic F F# A A# C C# E F Hungarian minor F G G# B C C# E F Persian F F# A A# B C# E F Arabian F G A A# B C# D# F Japanese F F# A# C C# F Egyptian F G A# C D# F Hirajoshi F G G# C C#

 

 

You didn't list the F chromatic scale.  What you listed only covers tonal music and doesn't include modulations or chromatic melodies.   :razz:

 

 

FYI though the song is in D minor with quite a lot of chromatic stuff going on.

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So it's D natural minor then?

D E F G A A# C

 

FYI you wouldn't refer to the 6th note in D minor as A#. In D minor, A is natural, and B is flat. Yes, technically A# and Bb are enharmonics of each other, but that's not the point.

 

Don't skip a letter when listing notes. Always list all letters from the note to the octave, and use either flats or sharps (never both) to adjust the notes to fit the type of scale you want.

 

D minor is D E F G A Bb C

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FYI you wouldn't refer to the 6th note in D minor as A#. In D minor, A is natural, and B is flat. Yes, technically A# and Bb are enharmonics of each other, but that's not the point.

 

Don't skip a letter when listing notes. Always list all letters from the note to the octave, and use either flats or sharps (never both) to adjust the notes to fit the type of scale you want.

 

D minor is D E F G A Bb C

 

Just adding to this by saying that F major has Bb as its single flat (the flats go Bb Eb Ab Db Gb Cb Fb), and so D minor would notate that as Bb as well.

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FYI you wouldn't refer to the 6th note in D minor as A#. In D minor, A is natural, and B is flat. Yes, technically A# and Bb are enharmonics of each other, but that's not the point.

 

Don't skip a letter when listing notes. Always list all letters from the note to the octave, and use either flats or sharps (never both) to adjust the notes to fit the type of scale you want.

 

D minor is D E F G A Bb C

 

C'mon, it's not D Fb F G G* Bb B#? Don't crush my spirit, Darkesword.

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C'mon, it's not D Fb F G G* Bb B#? Don't crush my spirit, Darkesword.

this makes me mildly angry. stahp

 

Although, there are a few exceptions to the rule darkesword pointed out regarding sharps and flats: some keys (e.g. g harmonic minor; G A Bb C D Eb F# G) will use sharps and flats in practice, but not in the key signature (g harmonic minor will still have the same key signature as g natural minor and Bb Major). 

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