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Gario

OCR03772 - *YES* Assassin's Creed 4 "Sanctity"

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Contact Information


Username: timaeus222
Name: Truong-Son Nguyen

http://soundcloud.com/timaeus222
http://tproductions.comeze.com/
ID: 24526

Submission Information

 

Game: Assassin's Creed IV: Black Flag
ReMix Title: Sanctity
Consoles/Platforms: PC, PS3, PS4, Xbox One, Xbox 360, Wii U
OST Composers: Brian Tyler, Sarah Schachner, Olivier Derivière => Freedom Cry
Sources: The British Empire, The Spanish Empire (attached)
 
Hey guys,
So I talked to Brandon, and he decided that I can submit this track separately; it'll still be on his album, regardless of his plans with it, but we've approved it to be a solo track on OCR upon acceptance.
 
NOTE: This was dated before the Brandon fiasco. Tread carefully.
 
- Gario
 

ReMix:

 - MP3
 - WAV
 
or, attached if the Box bandwidth runs out.
 
Comments:

"Every now and then, when I write ReMixes, since it's not often that I've already played the games whose soundtracks I reinterpret, I adapt it to a specific genre. By not slapping on a genre and working within its confines, I aimed to put the focus not necessarily on the enjoyability of the ReMix itself, but on trying to make an emotional connection with the game. For this AC4 mix, I wanted to base my inspirations off of the feel of "The British Empire"; between the metallic ethnic tones, the santoor-like piano, and the judicious use of live solo strings, I thought "The British Empire" was interestingly meditative and mountainous overall. 

About 2:30 in, I also felt the desire to incorporate another theme for dynamic variation, and I chose "The Spanish Empire." When I hummed British Empire atop Spanish Empire, I got an alternate connotative perspective on 'mountainous' (more spaghetti western-esque, but also of course, spanish), which helped me to introduce new harmonies to the main motif of British Empire. I also really liked it as an accompanying melody in general. 

Overall, I wanted to try to elevate the meditative and mountainous vibe (hah, get it?) of the original by adding a middle-eastern flair (dulcimer, saz, didgeridoo, Turkish oud); some distant thunderous gran cassa, bass drum, and timpani; a lot of involved percussive work (courtesy of Rhapsody Orchestral Percussion); and a synthesized open-hole flute (haha, it's not a sample!). I found the original to be fairly neutral in direction, so I also wanted to kinda bring together all the aspects I loved about the original and give it what I think is a clearer direction."

 

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An unusually conservative take for Timaeus, but it works.  The increased emphasis on melody combined with the changes in instrumentation and accompaniment more than make up for the similarity in style.  The use of The Spanish Empire is quite subtle, but it's there.  Solid production, as always.  Not really a lot to say here, except

YES

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This definitely has Timaeus' usual quality in production, and while pretty straight foward the arrangement works well. The orchestration is done well, and while I could nitpick the humanization (sometimes the articulation swells too much for faster string runs), it's certainly well above OCR's bar. Nitpicking even further, I also have to mention an instrument suddenly popping out at 3:31 in the left speaker (sounds like the Didgeridoo), which is pretty distracting for headphone users, especially since there's nothing like it prior or since. Not a big deal at all, but just be careful with mixing artifacts like that in the future is all.

Repeating what I mentioned in the first post, this WAS submit prior to Brandon's issues, and this IS a part of his Assassin's Creed album, so before we post (assuming this passes) we should ask Timaeus whether that affects his choice to have the track posted, but if there's no problems then I'm all for giving this front page lovin'.

YES

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Didgeridoo

YES

oh the rest of the song? it's pretty good, albeit sticking to the original concepts quite a bit.  The more exotic instrumentation does add a bit of identity to it, though the original wasn't short on the exotic instruments department either.  Production is solid as expected, and the fusion of both songs works, helped in no small part from the sources being similar thematically.

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