*NO* Legend of Zelda: Link's Awakening 'Tal's Surfin' Summit'

[Gario]

Your ReMixer Name: Lucas Guimaraes

Your real name: Lucas Guimaraes

Your Email Address: 

Your website: https://twitter.com/Thirdkoopa

Your userid: http://ocremix.org/community/profile/33965-thirdkoopa/

 

Name of Game(s) arranged: The Legend of Zelda: Link's Awakening

Name of Arrangement: Tal's Surfin' Summit

Name of Individual Song(s) arranged: Tal Tal Heights

Link: 

 

other people that helped: Josh Shelton (OCRemix Account currently N/A), Furorezu (https://ocremix.org/community/profile/33297-furorezu/)

 

This track was kind-of a burst of inspiration: I'd heard the song a few times before and loved it, but didn't pay much attention to it when I came across it in Link's Awakening. I then listened to Furorezu's Surf Rock arrangements; I was stunned. I asked him to lay on some guitar while giving Josh a difficult Saxophone part and putting my own production skills to the test for improving. I'm pretty pleased with how it turned out; the stellar rhythm that Furorezu laid down really glues this song together and the solo's Josh Shelton put on were definitely lightning in a bottle moments.

 

---

 

Hope I did this all right - Please let me know if anything else if necessary

 

Edited August 16, 2019 by MindWanderer

[Liontamer]

I like the arrangement overall, and felt this was a creative take on it, but the execution holds this back, IMO. Though I can live with it, the sax is mixed too low and doesn't stand out enough vs. the rhythms guitars. The track's also mixed quietly in general.

As soon as the sax went into comping, the timing slipped (e.g. :35, 41). What happened to the notes at 1:43 and 1:47? Should have re-recorded. The sax comping from 2:04 until the finish at 2:35 also felt directionless. The sax performance doesn't sound polished enough, so please watch those smaller details.

Dynamically, this actually got plodding despite the energy inherent in the writing. Part of that is because the backing rhythm guitar and drumwork never let up, always going at the same overall energy, intensity and busyness the whole way; just because it's surf doesn't mean you can really get away with the overall energy level feeling so flat.

Vary up the textures to create more dynamic contrast, tighten up the saxophone performances and give them more direction for the finish. It's a cool take on Tal Tal, so I hope you guys are willing to revisit this if it doesn't pass.

NO (resubmit)

[Rexy]

I second Larry's statement on the quietness - it doesn't peak above -7dB.  I understand that below -6 is often a requirement for albums, but mixposts here expect you to do the mastering part yourself.  Please keep that in mind for the future.

Looking at the arrangement, it's generally straightforward with 3 theme variations and some improvs.  However, the range restriction of Josh's saxophone allowed for subtle pitch changes and some simple playing around in the later two theme variations.  The setup of just bass, drums, saxophone and Furorezu's rhythm parts fit the surf rock style to a tee, and that makes it a unique take on the original.

However, the execution does have some problematic flaws.  Firstly, Josh's saxophone lost its direction during both the improvisations and the third rendition of the theme.  I heard timing fell out of place in the first improv and the notation feeling too random in the ending.  And then there's the third improv, where 1:47 sounded like he forgot to change his octave in the seconds leading up to it.  Tal Tal is not easy to perform on a limited instrument, but it does help to plan the variations ahead of time to minimize slip-ups like this.  I feel all 3 of these sections can benefit from a re-record if the original recording can't be spliced up.

Secondly, the saxophone is not only quit in the mix, but its lower frequencies also bleed into the rhythm guitars and detract from its presence.  Consider boosting its volume first, then figuring out any EQ changes if necessary.

Breaking away from the saxophone and the low volume, the energy from the drums and rhythm guitars feel static despite the clear rhythmic changeups.  Commercial Surf Rock records had used varying techniques to break up this kind of monotony, including drum solos, additional leads (typically organs) and other different rhythm lines.  I understand this genre is Furorezu's thing, so it'll be great for him to keep listening to surf rock and watch out for new inspiring ideas.

As it stands, my most significant issues with this submission are with the saxophone's execution and the quiet volume levels.  Arrangement-wise, it's an enjoyable idea, but I do encourage Lucas to revisit the mixdown and potentially revisit the backing, and for Josh to go over his saxophone part.  If you're up for returning to this track, then I'll be very excited over the direction taken.

NO (resubmit)

[MindWanderer]

I had a lot to say about this, but Larry and Rexy already covered it all.  They've given you plenty of good advice to work with, so start there.

NO