Liontamer Posted April 4, 2023 Share Posted April 4, 2023 (edited) Contact Information Your ReMixer name = Doffu Your real name = Shea Kennedy Your email address = Your website(s) = https://www.youtube.com/c/Doffu Your userid = 38479 Submission Information Name of game(s) arranged = Tetris Attack Name of arrangement = Getting Froggy Name of individual song(s) arranged = Getting Froggy Your own comments about the mix, for example the inspiration behind it, how it was made, etc. = After a friend got me into this game's soundtrack, I realized the endless potential for remixing. I decided to do a tibral remix of the song Foggy's Stage, crafting poignant sounds on both hardware and software synthesizers. I introduce a sort of electro-dance beat partway through the arrangement and cut a lot of the original song material resulting in a sparser structure with more room for subtle forms of modulation. Edited April 21, 2023 by Liontamer closed decision Link to comment Share on other sites More sharing options...
MindWanderer Posted April 10, 2023 Share Posted April 10, 2023 There's some fun sound design here, but most of what you've done is a 1:1 instrument swap. The most problematic is the droning pad of the original, which you kept, and sounds really unpleasant. Compositionally, it's two loops of the source material, with very few changes between the first and second loop. The drone changes timbre, but I'm not hearing any other differences. There isn't even an intro or an outtro, just an extremely long decay into over nearly 20 seconds of silence. Production sounds mostly pretty good, but we're looking for more in terms of arrangement. This sounds like it's a MIDI rip, taking the exact source material and swapping the instruments out, as well as being two loops of that same source material with little variation and no addition. We need more in terms of both transformation and dynamism. NO Link to comment Share on other sites More sharing options...
Chimpazilla Posted April 18, 2023 Share Posted April 18, 2023 (edited) I am still listening to the source tune. I haven't even hit play on the remix yet, and the source's droning pad is making my ears insane. Man, that is really irritating. Ok let's see what the remix is doing. Wow that is an abrupt start. The bass patch is super simplistic and panned entirely wide which already doesn't work for me. The bulk of a bass patch should really be mono below 100-150Hz, with only its highs separated. A stereo bass has no impact and leaves the track lacking a cohesive low end. In fact the stereoscape is completely bass-ackward here, with the leads occupying the center (with only a bit of delay escaping the gravitational pull of the center a little bit) and the bass wide on the sides. And there's that continuous pad. Nothing interesting is being done with the pad. This is a missed opportunity to make a drone pad into an interesting, evolving anchor to the track. Once established, the writing and sounds never change. The drum loop also never changes, and the drum sounds are plain and tamely mixed. This is just too many playthroughs of the exact same thing with no writing or instrument changes, and the drone pad is unfortunately the final nail in the coffin. I agree with MW that it sounds like a midi instrument-swap. Good start but much more work needed to get this arrangement really working. NO Edited April 18, 2023 by Chimpazilla Link to comment Share on other sites More sharing options...
Liontamer Posted April 21, 2023 Author Share Posted April 21, 2023 I don't inherently mind the droning pad, though I'll argue that the line in the source tune had a softer sound, so you don't get tilted by it, whereas I can understand it eventually feeling grating here. Definitely in agreement with the others that the arrangement isn't transformative enough. Static energy and instrumentation; it sounds like it should be a base for a much lengthier piece. LOAL at the overwrought fade-out, as the pad devolved into what sounded like a fly buzzing in the room and fading away. Not a knock on it, just a fun observation. Even if you kept the overall energy level like this, there are so many additive and subtractive ways to employ subtle variation; right now, what I mainly hear is the background line slowly getting louder and some light whoosing/warbling SFX creeping up, which is not nothing, but the sum total of that is not nearly enough evolution or dynamic contrast. A nice cover, no doubt, Shea, but we're looking for more aspects of interpretation and personalizing the theme to stand apart from the original source tune. NO Link to comment Share on other sites More sharing options...
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