Liontamer Posted May 17 Share Posted May 17 (edited) Arrangement - Lucas Guimaraes Production, Mix, Master - Ridley Snipes Guitar Solos - BadHairlineProduction Look, I've done writeups that are novel length lately. I'm burned out and I don't even know why I'm on here posting this. idk. Trevor sent this master to me right before I burned out so I figured "might as well upload it before I forget". idk I like the serotonin. I'll come back to the larger internet eventually. I'm sure by the time this is posted y'all will be able to tie this into my public statement on burnout. we went for a Perturbator vibe here. uh song is on Pixel Mixers Octopath 2 album kthnxbyyyyyyye 0:00 - 0:11 (Intro) - Intro at 0:05 0:11 - 0:50 (A) - Cello melody at 0:05 - 0:30 on one of the synths 0:50 - 1:11 (A - Implied) - Bass part from the first 50 seconds. 1:11 - 1:28 (B Section) - 1:23 - 1:41 from the OG 1:28 - 1:42 (OG) - original content 1:42 - 2:19 (A Section mostly implied) - bass is implied from the original, motifs here and there. I can write all these out if it helps make a difference. 2:19 - 2:40 (A) - Bass, chord progression 2:41 - 3:00 (B) - Variation of the B section 3:00 - 3:17 - original content Games & Sources Octopath Traveller 2 - Osvald's Theme Edited August 5 by Gario Link to comment Share on other sites More sharing options...
Liontamer Posted May 18 Author Share Posted May 18 Feels like it’s chord progression->chorus->chord progression->chrous->chord progression. Never made out the main melody. Am I missing other overt connections? Link to comment Share on other sites More sharing options...
prophetik music Posted May 28 Share Posted May 28 (edited) opens with a driving beat and some low bass synths. we do finally get melody at 0:31, in a backing synth i can hear the A theme. the 'chorus' section i agree doesn't appear to have a melodic line until the glidey synth comes in at 1:09. that synth does the B theme with some extra fanciness on the lines. this whole first section has a great synthwave/darkwave vibe to it. we switch to double-time and it's driving a lot more now. i like the space in the bass for sure. the A section doesn't appear to have melodic content in it for this half of the track. the guitar solo is over the B chords, i believe, and there's some licks in there that are from the track but overall is just a fun solo. right after the solo, we get a ritardando and fadeout, and it's done. in terms of overt source usage, i hear melodic content from 0:31 to about 0:53, 1:09 to 1:28, and a few snippets in the guitar solo like at 2:35ish. the chord progression and some of the motifs are present in several spots throughout, though. for example, the ascending triads at 0:21 are reminiscent of the B theme's beginning, the opening in the bass is similar to the A theme's opening, etc. but overall i just don't think there's enough direct references to the original for me to say it's 50%. there's certainly a lot of little bits here and there, but there's nearly a minute in the middle where there's nothing (not even really a melody or solo happening, just groove), and the guitar solo only really references anything near the end. i think that if i'm missing some source here and it's actually present, this is a yes. as is though i'm not sure the chord progression (which isn't overly unique) is enough to call it source-dominant throughout. NO Edited May 28 by prophetik music Link to comment Share on other sites More sharing options...
Hemophiliac Posted July 21 Share Posted July 21 This is a really cool source, melancholic, dark, and contemplative. Very interesting concept to go from that to darksynth/synthwave. I have to applaud the mood because that was nailed, very cool. To date this is one of your best produced tracks Lucas. Kicks are clear, the bass doesn't step on them, and those big synth stabs are super cool. I'm really struggling to connect the the source to the arrangement much, even with the breakdown and many listens on my own without it. I too also got bits and pieces but they don't feel like they are the dominant focus. I agree with prophetik in that a chord progression is difficult to say, "oh that's what I remember from that source". Generally that's not what a listener latches onto. Unfortunately more dominant and identifiable source would be needed for me to give this a pass. It's a bummer, Lucas; because it's a really awesome track and is one of your best produced to date. NO Link to comment Share on other sites More sharing options...
Gario Posted August 5 Share Posted August 5 This kind of reminds me of Monomer (aka the guy who did the Mummy Demastered OST), which if you know me at all that's a pretty high compliment as far as style and production goes. I think I can hear some very faint connections to the source at 0:11 - 0:50, but it is mixed very quietly into the background; I'd be hard pressed to consider it source usage since most folk ain't gonna hear it unless they really listen for those background elements hard. Gotta make it so average listeners can hear it, my man, 'cause unlike us it's not their job to listen to every element to find it! Considering the sections where you suggest the source is implied, I can hear what you were going for (lots of subtractive arranging with the melody), but it's too transformative to recognize as a part of the source. After enough changes it just sounds like the bass or lead is leaping up and down, which while something the source does is also something countless of other songs out there do. I enjoyed this arrangement, but I agree with my colleagues that this doesn't have enough recognizable source to get it on the site. NO Link to comment Share on other sites More sharing options...
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