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*NO* Splatoon 2 'Fly Octo Fly ~ Ebb & Flow - Metal Cover'

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ReMixer: Sebastian Bash

Name: Sebastian Frisk

Mail:

Website: https://www.youtube.com/channel/UCfiXo7-qAWuqBhBSLchLplg

ID: 35461

 

Video Game: Splatoon 2 (Octo Expansion)
Arrangement Name: Fly Octo Fly ~ Ebb & Flow | Metal Cover

Song: Fly Octo Fly ~ Ebb & Flow

Composer: Toru Minegishi
Game System: Nintendo Switch
Original Song: https://www.youtube.com/watch?v=wk4Hcjqn3VE

 

I really love this song, and got inspired by another Youtuber who made a rock cover on the song! I’ve always wanted to give this genre an honest try, and this is what I ended up with. I spent extra time with the drums so that they wouldn’t drown in the mix and sound dry, and I think it came out pretty well!
I recorded and mixed everything in Fruity Loops 12.

 

I hope you will like the cover, and accept my submission!

Many Regards
Sebastian

 

 

Edited by Rexy

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Man, I love this source, and this is an excellent metal cover of it.  Definitely a remix I didn't mind listening to repeatedly.

That said, it is pretty close to a cover, very conservative overall.  It's not quite identical structurally, but it's close.  Cutting out the vocals changes the the way it sounds, bringing supporting instruments into the foreground, but it doesn't change the fact that they were there to begin with.

The production could stand to be improved as well.  There's some overcompression, causing pumping in the louder sections.  The lead guitar is getting somewhat muffled by the rhythm guitar and percussion, and could use some EQ work to cut through the mix better.

Thanks for sending this in, and I definitely enjoyed it, but I don't think the arrangement is quite what we're looking for, and even then the production would need another pass, IMO.

NO

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I liked how you made the lead at :09 warble just like the source's vocals; nice touch. The rhythm guitar from :32-:41, 1:09-1:18 & 1:21-1:24 was off-key with the lead, so watch that clashing.

After the quick dropoff at 1:34, the same backing patterns returned at the same exact energy level at 1:37; you had a perfect opportunity to develop something new or more meaningfully vary up the presentation, but that finally came at 2:00.

Whoa, the change into the sequenced strings from 2:00-2:13 really exposed the sample; sounded pretty fake, slightly behind with the timing, and was a quality disparity with the rest of the song. Definitely tighten this up and consider a different sound.

The writing's from a different section of the source, but the track's intensity and textures at 2:14 were basically the same as before, which makes the presentation and dynamics seem samey for the last section. In the original the instrumentation for the beats is different enough from the first section to the last where you don't get that same feeling. See if there's anything you can tweak with the presentation of the final section to create a more different energy than the first 1:34.

I think this was closer to passing that MindWanderer gives it credit for, because this was a solid genre adaptation and forgoing the vocals already gives it a different enough character. You just have minor issues that are adding up to drag this down. The most important thing to address is making the instrumentation and intensity from 2:14-on feel more different than the first half, and then you need to improve 2:00's string section and eliminate the off-key stuff at the beginning. Good base so far though.

NO (resubmit)

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Right off the bat, I'm going to have to disagree with MindWander for a different reason than Larry.  Why?  The structure of the track is identical to the source material, right down to the number of beats per segment.  Luckily there are some subtractive change-ups with a guitar lead rather than vocals, an added rhythm guitar part and a solo at 0:57 where rapping was present.  Ideally, I'd like to hear more interpretation-wise, but there are changes, and they get the job done.

After hearing the rhythm guitar in the Fly Octo Fly choruses (0:32-0:46, 1:09-1:34), the run of G notes on the bass makes it sound too bland.  I feel it'll benefit from the bass playing the original's root notes, or a pattern that'll fit the lead and rhythm's writing.  It's not as weak as the minimal interpretation, but it helps to focus on the source material's chords.  If you can't identify them, try writing sequences that feel harmonically pleasing with each other.

Production-wise, I have different feelings regarding this mixdown.

  • * Yes, I do agree that more can be done to separate the EQ of the lead from the rhythm guitar, but rather than the lead getting muffled I thought it was the other way round. 
  • * Regarding the exposed string sample at 2:00, a track like this can benefit more from a synth lead rather than any realistic instrument, so consider that as an idea.
  • * The backing bass and rhythm guitars do play at a consistent texture.  However, the drums did a good start via its variations with subtle 16th hat runs and visible identification of each section based on the number of open hi-hats and occasional tom rolls.  It's a good start, but experimenting with different rhythms and writing more unique drum fills can break this wall of monotony.

It's not a groundbreaking idea, but I do see promise based on the source's treatment and strong performance values.  Unfortunately, the smaller production issues added up too much overall.  Consider doing another pass on the mixdown at least - and whether you'd want to add more source interpretation is up to you.  Keep at it.

NO (resubmit)

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