Liontamer Posted February 16 Share Posted February 16 (edited) Artist: SEFAR I have try to interprete this beautifull and melancholic track with a massive industriel / electronical approach that reflete the deepest of what frostpunk is talking about : a blind run to death and deshumanisation. I'have try to keep the melancolia of the original but to bring it power and more cinematographic sound illustration : like sound of broken ice, industriel mechanism, fire shoot, broken glass of drunken a man and dictator speech. There is a piano and a full set of industriel drums, soundscapes and many others details that i have created. Also, the record speech of a famous dictator for illustrated a major theme of frostpunk : insecurity leads to authoritarianism and fanaticism. "We don't need hope anymore" is a word from a caracter in the game at some point. At the end we don't don't who is kill : the one rebel's or the the dictator himself. The piano is sometime pushing simply the main melody, especialy at the begining, but then it's going in another direction, more ryhmical and maybe in a bite "jazzy" way. I hope it's bring some melodical complexity to the track. The end is voluntary more radical than the original track, because i think my interpretation is more radical in a way that there where no need to continued over the strings decrescendo. I sincerely hope you will enjoy this remix. Antoine DRAï Games & Sources The original Soundtrack came from the Frostpunk main theme ( Track 1 form the OST ), composed by Piotr Musiał. You can listen to it here : Edited April 12 by Chimpazilla closed decision Link to comment Share on other sites More sharing options...
prophetik music Posted February 16 Share Posted February 16 this whole ost is really striking, just like the game. piotr musial is superb. the sustained string harmonics about a third of the way through are so eerie. starts with some plucks and sfx. the violin almost sounds straight out of the game. piano isn't quite in time and has a wrong note right off the bat. big hit at 0:33 with a bit of a beat and what sounds like hammers. it picks up at 0:58 and i essentially can't hear anything but the beat and the piano at this point. it's not a particularly idiomatic piano performance either. there's some more sfx at 1:24 of a speech with similar percussive elements under it - again the percussion is so loud i can't hear anything else. the percs drop off at 2:04. it's still just the strings playing roughly what's in the original track the same way, and piano mirroring it. there's a false crescendo in some really nice rhythmic strings at the very end and then a hard cut to the piano. i think this is a neat idea, but i can't hear anything for the middle half of the piece. it's just too loud. this needs a significant revolumization across the board, especially around the percussive elements which are just way too loud. that whole section is super boomy, and some EQing especially on the big boom fx you're using will help lighten the sonic load there while still keeping it punchy. separately the piano overall sounds like it's just perpetually at 127 velocity and machine-guns several times. there needs to be a lot of attention paid to the piano to make it more realistic in the performance because right now it does not sound realistic at all. all that said i really like the concept. there's some really need ideas here in terms of the instrumentation and your approach, and a lot that ties into the game in interesting ways. it's hard to realize that though with the mixing all over the place. spend some time EQing out extra stuff, turn everything down quite a bit, and then use compression to keep it feeling strong. NO Link to comment Share on other sites More sharing options...
MindWanderer Posted March 29 Share Posted March 29 Great start, for the first 30 seconds. Rich and melancholy. After that, though, the volume issues start. At 0:34, the first "crunch" hits, and it's overwhelmingly loud and grating. It goes downhill from there, adding more and more layers without doing any EQ or other adjustments, so it steps all over itself. The angry German voice is so loud you can't hear anything past it but drums. So yeah, proph had it right: Conceptually, this is fantastic. It just needs a healthy dose of production work so that everything is audible and clear. NO Link to comment Share on other sites More sharing options...
Chimpazilla Posted April 12 Share Posted April 12 What a gorgeous source tune! Ok on to the remix. The intro is already super loud. The piano sounds very rigid and blocky, the timing with the violin is frequently off, and there are moments where the notes don't match, such as at 0:14 and again at 0:40; the piano and violin are playing different notes. At 0:33, the soundscape is now very heavy and the percussion sounds very loud, dry and very overcompressed. By 0:58 I am already hearing overcompression pumping across the track. At 1:49 the entire soundscape is smashed to smithereens, with crunching and unwanted pumping. The addition of the Hitler recording is a bit shocking and it's a very bold and interesting choice. I can see how this recording adds to the theme and feel of the track. I was alarmed when I heard it at first, not even because it is Hitler but because the recording is way too loud and dry, it dominates the track while it is playing. I think you can keep this idea, it's good, but it has to be mixed better. You need to turn the volume of it way down, and give it a touch of reverb so it sounds nestled into the soundscape instead of being heavily on top of it. It is menacing, but does not need to be THIS menacing. At 1:49 there is a note progression that makes no sense, I'm not sure if that was intentional but it does not sound good to me. At 2:34, the previously established soundscape stops abruptly and there is a short piano-only outro. This piano part sounds pasted on, as there's no flow from the previous section which was stopped absolutely cold. This is awkward. Ok, listening to it again, what about doing a very short white noise sweep to wrap up the previous section right before that last bit of piano? The sweep should stop abruptly right where you have the rest of the instruments stopping. That would make your abrupt outro idea work. I think you've crafted something very moody and cool here, but it needs a mixing overhaul. Go through and re-balance the volumes of things, most especially lower the industrial percussion volumes because they are too loud. Check the notes of the piano and violin, and make sure they match where they are both playing the same line. It would be very good if you could do some humanization on the piano so it sounds less blocky and gridlocked, and more natural/real. Lower the volume of the Hitler recording and add some reverb to make it fit into the soundscape. EQ all instruments so that nothing is playing in the low-lows other than bass and bass-drums. This will clear out inaudible mud and give you more mastering headroom. The last critique is the mastering, it is waaaaay too heavy and hot. Lower the gain on your final limiter by several db (I'm thinking 5ish), such that the overall track doesn't have that crunching and unwanted pumping. I look forward to hearing this one again. NO (resubmit) Link to comment Share on other sites More sharing options...
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