Rexy Posted January 2, 2020 Share Posted January 2, 2020 RebeccaETripp Rebecca Tripp http://www.crystalechosound.com/ ID: 48262 Game(s): Oracle of Ages/Seasons Song Title: Tranquil Homesteads Songs Remixed: Inside Houses Link to comment Share on other sites More sharing options...
MindWanderer Posted February 6, 2020 Share Posted February 6, 2020 An 18-second source, huh? That consists of 6 repetitions of a simple motif as well. It's ambitious to try to spin 3 minutes out of that. ...Too ambitious, I feel. There are a couple of nice original bridges in there to break it up, and of course the whole thing is layered with Rebecca's usual gorgeous orchestration, but unfortunately it still comes across as extremely repetitive. I don't personally feel like the bridges are a great match for the tone of the rest of the piece, either; the second one in particular sounds like another piece of music entirely just stuffed in there. It's a noble effort but I don't think it worked out in the end. NO Link to comment Share on other sites More sharing options...
Chimpazilla Posted February 7, 2020 Share Posted February 7, 2020 I love that I hear Zelda's lullaby on the clarinet as a countermelody. The piece is repetitive as it would have to be using an 18 second source, but I feel like there is enough variation in how that source is played and by different instruments, and the mix is so light and cute that I'm not finding the repetition to be a problem. I think this is adorable and well produced. YES Link to comment Share on other sites More sharing options...
prophetik music Posted February 11, 2020 Share Posted February 11, 2020 something like 6db headroom if you let one spot clip a touch. just so consistently a problem. the orchestration is lush and rich as expected. agree with chimps that the clarinet countermelody is just so beautifully woven in. i found the original bridges to be fine - both attempt to at least keep the feeling of the original work, and the first at least uses the same chord structure. i agree that there's minimal arrangement done in the notes here, but i felt that the timbral variations for what carried the melody, harmony, and supporting parts all mixed up enough to feel ok. i do think the ending is not great and the manual fade on the flute sustain really stands out in a bad way after such a transparent and clear arrangement. from a mastering perspective, besides the issue with the headroom, this is a pretty clear and open arrangement so there's little issue with the soundscape or EQ. as a whole she did a nice job avoiding the potential problem points with high winds too. i think there's definitely enough here for a positive vote. YES Link to comment Share on other sites More sharing options...
DragonAvenger Posted February 11, 2020 Share Posted February 11, 2020 Aside from the usual quiet overall volume I agree that this is just fine for the production aspect. The arrangement is a bit tougher due to there being not much to work with, but I do think the bridges and original sections do a good job of keeping with the original feel and also come back to the source quick enough. I also *think* that 1:18 is referencing another Zelda track I can't think of off the top of my head. I'm good with this! YES Link to comment Share on other sites More sharing options...
Rexy Posted February 12, 2020 Author Share Posted February 12, 2020 Stretching out a source that's less than 20 seconds long is always going to offer different methods of interpretation. Still, even then, the "theme and variations" route is suitable enough to twist the foundations and keep them recognizable at the same time. No two run-throughs sound identical, the use of "Zelda's Lullaby" as a countermelody is charming and compelling, and I liked how you placed the core motif of the source into a broodier minor key development at 1:14, spread across multiple wind instruments. Arrangement-wise, the sum of the parts are simple, but get their job done effectively. Naturally, this track has a similar quirk with prior submitted works, what with it having a fair chunk of headroom. But when the instrumentation is both mixed down and articulated well, it's something that I can easily overlook. It would've also been nice to have added more opportunities for your virtual performers to breathe too, but I consider it something of a desire rather than something that goes against the standards. As a collective whole, the arrangement and production values are both simplified - but with a focus on a short source and a minimalist set of instrumentation, they set out to achieve their roles and create a robust package through and through. Great work, Rebecca - let's see this on the front page. YES Link to comment Share on other sites More sharing options...
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