OCR04039 - *YES* Yu-Gi-Oh!: Forbidden Memories "Not Just Elevator Music" *PROJECT*

[Emunator]

(again, having trouble download Box links. Not sure why.)

Contact Information

Username: timaeus222
Name: Truong-Son Nguyen

http://soundcloud.com/timaeus222
http://tproductions.comeze.com/

ID: 39971

 

Submission Information

Game: Yu-Gi-Oh: Forbidden Memories
ReMix Title: Not Just Elevator Music
Consoles/Platforms: PlayStation
OST Composers: Unsure; might be: Naoko Ishii, Waichiro Ozaki, Hiroshi Tanabe
Sources: Password Menu (attached)
ReMix:  (VBR1)
(WAV)

 

This is for the Shonen Jump ReMix Album headed by Cosmic Sounds and SkyRiderX (with DarkeSword as the guy to run the mixes by).

 

Comments:
"Alright, more Yu-Gi-Oh! I've been telling myself that I should try remixing something super short at least once, kinda like how Rozovian's remixed a 4-note source tune and Chimpazilla's done it with a 6-note source tune.

I was having a lot of fun getting the dynamic pads and deep bass to sound just right, but I especially enjoyed playing around with layered reverse delay effects in the breakdown section and outtro, as well as the glitch stuttering and stutter-esque sequencing. I also haven't written a solo in quite a while (over a year, actually), so it was refreshing to do two short ones in here with that square wave lead. Oh yeah, and I wrote this in three days: two consecutive days and a third day about 3 months later. :D"

Extra Info:

And of course, a source breakdown for you peeps. The gist of it is that notes #1-4 and #5-8 were each used to form a two-chord progression, either explicitly arpeggiated or rolled, or as actual chordal accompaniment.

!= : not really equal to
= : basically equal to
~= : sorta equal to
null: not counted

0:11.2 - 0:55.9 = Source (the note rolls and the entirety of the chord sustains incorporate all 10 notes)
0:55.9 - 1:17.5 ~= Source (the chords use notes #1-4, and the arpeggio resembles those four notes; not counting this)
1:18.2 - 1:29.3 = Source (notes #1-4 and #5-8 with altered rhythm and call/response-esque writing)
1:29.3 - 1:40.5 = Source (solo over arpeggiated notes #2-4 and #6-8 in the background, chords formed by notes similar to #1-4 and #5-
1:40.5 - 2:01.8 = Source (arpeggiated notes #1-4 and #5-8, chords formed by notes similar to #1-4 and #5-
2:02.8 - 2:14.0 = Source (notes #1-4 and #5-8 with altered rhythm and call/response-esque writing)
2:14.0 - 2:25.2 != Solo (solo over chords formed by notes similar to #1-4 and #5-8; not counting this)
2:25.2 - 2:47.5 = Dubstep Breakdown (glitched up sequencing of the 10 notes)
2:47.5 - 3:21.1 ~= Source (the chords use notes #1-4, and the arpeggio resembles those four notes; not counting this)

44.7 + null + 11.1 + 11.2 + 21.3 + 11.2 + null + 22.3 + null
= 121.8 secs
121.8/201.1 = 60.6% source.

 

Source:

[Chimpazilla]

This is a great sounding track as I have come to expect from timaeus.  The source is simplistic, and I'm finding that the remix interprets the source a little more than I'm comfortable with, so that other than the chord progressions, I'm not really hearing this as a remix of the source, despite timaeus's extensive source breakdown.  The track sounds great and is an easy pass given enough source, but I'd like to hear a couple more opinions on this before deciding.

edit 2/5/16:  If the source use is ok with Wes (who played the game a lot) and with Larry, then it's good enough for me!

YES

[DragonAvenger]

Yeah, I think Kris has this right in the end, I feel like this just doesn't strike home enough in terms of the source being recognizable. I think some adjustments could be made to fix this without too much difficulty, and I hope you do so! Other than that, the production is crisp and clear, I enjoyed listening!

 

NO (resubmit)

[Emunator]

Maybe I’m just on drugs, or maybe it’s easier for me to hear because I played this game a LOT back when I was younger, but I’m actually swinging the opposite way on this. I feel like Timaeus did a great job keeping the source recognizable, (if not directly intact) throughout almost all of the song. I think this is due to the way he introduced the melody in plain and simple fashion, but then gradually began to modulate and add grace notes as the song developed. This helps put the original tune in the listener’s mind and then ease them into some of the more liberal interpretations, which I think is a totally valid approach. Call me crazy, but this little experiment is actually working for me!

By this point I shouldn’t even need to mention production or sound design – it’s most clearly on-point here as it is with every one of his Timaeus’ submissions, but the jazzy hip-hop vibe resonated especially well with me. 

I want to take a minute to revisit this vote from a few years ago – if that track was passable, then I think a very strong case can be made for this one, as well. Obviously it was a highly-contested split vote and this is a different track with a different judges panel, but it might provide a relevant precedent here.

Good luck with the rest of the vote!

YES

[Liontamer]

I've gotta agree with Emu all the way. Reading the timestamped breakdown and comparing the tracks, I was waiting to see where I disagreed with Truong-Son's breakdown, and that never happened; everything matched up as he said. For me at least, both the melody's notes and the sustained chords are pretty simple and upfront in the source, so it was important that the connections to both were constant in this arrangement to keep it connected to the source, and that's exactly what I heard here. No issues with the arrangement, production was on point, and nice work!

YES

[Palpable]

This had a stronger source connection than the SD3 decision that Emu linked. The arpeggio was used throughout, sometimes modified but always recognizable. If it was just a chord connection, I don't think this would pass muster though. I'm happy to pass this - like usual for Timaeus, the production is pristine. This track glitters and shines. On top of that, it's creative and an enjoyable sound journey.

YES