*NO* Fire Emblem Heroes "W A R C R Y"

[Liontamer ⚖️]

Artist Name: The Vodoú Queen

DONE FOR CNDR'S FIRE EMBLEM - 35TH ANNIVERSARY ALBUM

*CO-CONSPIRATORS*

• tibonev - electric & rhythm guitars
• Ridley Snipes - additional drums, percs, backing pads & synths

--

Time to take a page from some of my favorite 80s Rock & Synthwave groups, and do up something neat for my first ever Fire Emblem remix, (and no, it certainly won't be the last). :D

Trying to currently think of something deep, meaningful and thought-provoking to say about this piece, (and I'm usually *very* verbose), but. . .I think this time, I'll let the track speak for itself. ;) The only thing I'll go into detail about really is the fact that the major references and influences for this track were songs from groups like Duran Duran, Tears for Fears, New Order, and Depeche Mode, which I really wanted to instill into my own style and take on a couple of my favorite sources from the mobile game Fire Emblem Heroes. "Howling Gears" is the normal map BGM from Book V of the series, and "Niðavellir’s Shout" is the theme that served as the intro music for the chapter's movie / in-game cinematic, and also functions as the theme for certain bosses / Tempest Trial events related to the Niðavellir realm. It's not my first rodeo with arranging in the New Wave / Synthwave genre sphere, but as usual, I wanted to hone my skills in those fields, as they're probably pretty high on my list of the core genres of music I super enjoy. :)

Also, FWIW, the reasoning behind so much of the ear candy throughout the remix being gears grinding, steam hissing, coils winding and what sounds like hammer-fall is because I wanted to tie it back to the sources, (Howling Gears in particular utilizes very mechanical foley in its track), and due to the lore behind Book V, which has your Heroes trying to fight to liberate a dwarven race (the people of the appropriately named Niðavellir, same realm of the dwarves from Norse myth -- which the entire game centers around) from the villainous Jötnar (giants). The dwarf Heroes you recruit and soldiers you fight against frequently ride around in what's essentially steam-powered mech-suits that function like cavalier units' horses, but they literally sit in them and pilot them like Gundams. Pretty cool concept for a Fire Emblem game, having science and tech be retro-future steampunk-style, and I defo wanted to mesh that feeling with the overall vibe of my synthwave sound design and palette. Otherwise, I don't have much to say for my process of *how* I made this, just that I did so with love, and wanted to take up the challenge and mantle of putting the spotlight on the fabulous OST from a lesser known / popular game of the Fire Emblem franchise. I only played it and collected the characters for a brief time, (a couple of years on and off at best, as Gacha games aren't really my cuppa), but the soundtrack for it is fire.

Big special thanks to everyone who helped give this one feedback along the journey or collaborated with me on this track, and to Treyt for originally helping me transcribe the track sources into MIDI! Tibonev was my wing-man on this, and his enthusiasm for the direction of this remix I had in mind and we executed together was infectious, and Ridley, as always, was an inspiration with his help on the initial steps and path to glory. I appreciate everything y'all have done to help this along, and thank you CNDR and pixelseph for your votes of confidence the whole way through. ♥

--

*SOURCE BREAKDOWN*

"Howling Gears" [Main Source]:

1. A Section (Intro > Beginning-Point) = 00:00 - 00:48
2. B Section (Breakdown > Mid-Point) = 00:49 - 01:22
3. C Section (Ending > Repeat Point) = 01:23 - 01:55

"Niðavellir’s Shout" [Secondary Source]:

1. A Section (Intro > Beginning-Point) = 00:00 - 00:24
2. B Section (Breakdown > Mid-Point) = 00:25 - 00:48
3. C Section (Ending > Repeat Point) = 00:49 - 01:04

'W A R C R Y':

• Starts off with the main melody of Howling Gears A, that is present in the source track @ 00:17, accompanied by a slightly modified version of the arp from Howling Gears B present in the source track @ 00:49.
• 00:36 utilizes Howling Gears A's countermelodic/harmony parts that starts in the source track @ 00:16/17, (the part being played by the very grunge-y, dirty guitar riffs and chugs).
• 00:52 introduces the bass structure from the Howling Gears source track, present from 00:01.
• 00:00 - 02:30 = basically runs through Howling Gears' A Section, and the break @ 02:30/31 introduces its B Section.
• Niðavellir’s Shout (A) makes its appearance interlaced with Howling Gears B, (the scratchy synth & wailing guitar riff/melody from the beginning of the source track), played by a low humming bass and pulsing pad.
• ~ 02:35 - 03:07 = Howling Gears B's arps and falling string runs are the ear candy of this section, backing Niðavellir’s Shout's B section, played by the panned synths in this section.
• 03:08 - 04:27 = guitar melody plays Howling Gears C, slightly modified and with some new content / chord progression; some of the backing synths (e.g. the gated synth stabs) uses Niðavellir’s Shout C Section backing elements (00:49 of the source track), and the guitar changes-up @ 03:40 to follow Niðavellir’s Shout (C) melodic motif before the drop and continuing with Howling Gears C.
• 04:32 - END = gets a lil' funky on the transformation / re-interpretation side of things, but it reprises the beginning of the track, (back to Howling Gears A), but this time with a special guest appearance as a change-up from the intro's countermelody and harmony. ;) Bass and rhythm maintains the structure and feel of Howling Gears A.

EDIT (6/28): VQ provided a more detailed arrangement breakdown. -LT

**FURTHER SOURCE BREAKDOWN**:

Presented in "Howling Gears" source track --

a) BASS (i) = 00:01 - 00:49
b) BASS (ii) = 00:49 - 01:20
c) BASS (iii) = 01:23 - 01:55 ~ [to repeat]
d) SUPERSAW SYNTH / STRINGS = 00:17 - 00:31
e) GUITAR CHUGS = 00:33 - 00:48
f) FALLING CHORDS & ARPS = 00:49 - 01:20
g) GUITAR RIFFING (appears on and off between) = 00:51 ~ 01:20
h) HIGH OCTAVE SYNTH = 01:23 - 01:55

Presented in "Niðavellir’s Shout" source track --

j) HEAVY METAL RHYTHM GUITAR & ITS BACKING ARP = 00:01 - 00:24 ~ [to repeat]
k) LEAD SYNTH / MELODY (i) = 00:24 - 00:48
l) LEAD SYNTH / BELLS (ii) = 00:49 - 01:03 ~ [to repeat]

Hidden source material, "Shout" by Tears for Fears --

m) TRIANGLES & COWBELLS = 00:01 - 00:11 ~ [whole song]
n) LEAD MELODY / CHORUS LINE FOR SINGING / CHORDS = 00:10 - 00:50; 00:50 - 01:30 ~ [whole song]
o) ARP / STABS = 01:30 - 01:50 ~ [whole song]

---

Examples of where they occur in 'W A R C R Y' --

a) 00:52 - 01:10; 01:12 - 01:50; 01:51 - 02:30 [dotted note bass & sequenced bass]
b) 02:35 - 03:09; 03:10 - 03:48 [long note, low octave humming bass & mid-range pads]
c) 03:49 - 04:28 [orchestral string section holding the backing chords / harmony]
d) 00:33 - 01:12; 01:53 - 02:30 [arpy synth that fades in as a filter sweep; continues on as a background countermelody with the panning sequenced chimes that go with tibonev's guitars before the big drop and change-up, and then as his guitars and the chiptune / Famisynth leads]
e) 01:14 - 01:51 [tibonev's forward guitar strums]
f) 02:30 - 03:09 [arp on auto-pan / phasing]
g) 00:33 - 01:51; 02:50 - 03:09 [Ridley's pulsing saw layers & the shakers / percs in the background, that sound like hissing steam]
h) 03:10 - 04:28 [straight just tibonev's lovely guitar playing, along with some synth guitars as layers for it]

j) 00:02 - 00:32 [my pad chords + Ridley's additional backing layers, e.g. the glittery arps]
k) 02:50 - 03:09 [the weird juno-type keys & keyclick organ that are hard-panned L/R and switch with each other every 4-8 beats & the 'falling' glissando runs]
l) 03:19 - 03:48 [Ridley's hushed synth is based from this part of the source, but ran in double-time; also occurs with different synths in the previous bridge section (e.g. the change-up in the long note pads & drone sounds) and periodically throughout the track]

m) 04:34 - 04:52 [panning cowbell]
n) 04:32 - 05:11; 05:12 - END [filter swept bell keys & guitar strums/plucks mimic the verse & chorus melody lines from "Shout"; pop city keys/organ plays "Shout" chords]
o) 04:34 - END [Ridley's saw/reese stabs (modified with some splicing to match "Shout"'s arp stabs)]

Hope this helps identify where parts of these sources are in the track. :)

---

Games & Sources

FIRE EMBLEM HEROES; Disc 2, Track 23 - Howling Gears & Track 25 - Niðavellir’s Shout; Artist(s): Hiroki Morishita et al; Release Date: 31 Aug 2022; Label: Intelligence Systems (Nintendo) & Pony Canyon Inc.

Edited 54 minutes ago by pixelseph

[prophetik music ⚖️]

opens with some filtered arps and wide synth elements - i really like this opening feel. the sfx panned to the sides might be a little loud on headphones. i don't hear any of Howling Gears in this opening section, although the arp is reminiscent of the B section as you stated. same issue at 0:36, i don't hear that pattern either, but i do catch the bassline when it comes in at 0:52. the guitar part is playing something that's reminiscent of the piano in the original after this, but to my ears the piano's playing an octave, and the guitar is playing a maj 6th. 

2:35's a big shift, and shout's b melody is indeed present although i don't understand at all how it fits into the setting that's already present when it does come in. it sounds like it's in an entirely different key (the backing elements really look like Bb to me and shout's b melody is being played in Fm). the following guitar-led section is easier to understand and more obviously maps to gears. 

there's a big dropoff here before it gets back into gears again as interpreted earlier. there's a big filter that hits at 5:11 and doesn't sound like it goes away for a long time here - the bottom end feels like it's missing until almost 6:00 for a few seconds.

this goes some pretty wide-ranging places, which is neat. my main concern is the source usage, because i don't hear it in extended stretches of the track. i am gonna need to do some timestamping on this because as-is there's not enough source.

 

 

?

edit 9/4: thanks to jnwake for more in-depth analysis. even with the expanded source notes above, i just can't grok most of the connections that are called out. i would need more explicit, present instances of source material before i'd be able to consider this one. i also think the track would benefit from some more intentionality in the sections, but overall do agree that the track is generally well-produced and quite listenable.

NO

Edited September 4 by prophetik music

[jnWake ⚖️]

Hell yeah Fire Emblem Heroes! I haven't played in years but I still remember some of the music.

Ok, so this begins with a calm pad and some arpeggios. The arp is somewhat reminiscent of the ones in Howling Gears but not that much. I like the vibe during the first minute, the "Shout" inspiration is clear in the percussion (love that track by the way). Bass enters around 0:52, I can feel its presence but hearing the actual notes is fairly challenging. From what I can tell, the chord progression doesn't seem to be any of the sources' (at least, not directly). Guitar enters with a simple pattern a bit later, I love its tone and what it adds to the track's sound. Rhytm guitar joins at 1:50, sounds cool but I feel the soundscape is a tad cluttered by now, maybe some automation to drop the percussion in volume a tad wouldn't hurt. There's some nice effects and a break at 2:30 with synth strings and a synth bass. At 3:10 we finally get an easily identifiable source quote on guitar. Really cool soundscape here, I particularly enjoyed the jump at 3:50 to a higher octave. Around 4:30 we return to the riffs and melodies from earlier in the track. Still a nice vibe. At 5:10 we switch into a slightly different vibe for the final riff. There's more of a bass focus at the end and I can now tell it's playing the bass line from Howling Gears. With how hard to hear the bass is I'm not sure if this has been going on for the entire time or just now...

Anyway, I'll first talk about production. Generally I think this sounds great, most samples sound nice and there's a lot of small details on percussion and transitions that are neat. There's some times where it gets cluttered, not a dealbreaker but some automation to help the listener focus on the more relevant parts would be a nice idea. My main issue is the bass, I can tell it's there but it's VERY hard to hear what it's playing, which is especially relevant since it seems to be the main bringer of source material.

On arrangement, I think it flows great. First couple of minutes create a nice mood, then we have a break followed by a new section and then a reprise to close. It's a long track but it manages to keep my attention and interest. The main question with this one will be source usage. Section from 3:10 to 4:30 is, without a doubt, playing the source, but the rest is much harder to notice IMO. As I mentioned on my write-up, I only really noticed the bass was quoting the main Howling Gears riff on the ending where it's playing isolated. Counting bassline as source usage would bring us closer to this being eligible for OCR but, being honest, I have such a hard time actually hearing the bass that I can't reliable count where the source bassline is present.

I'll make my best effort here (based on your source usage description):

• Bass from 0:52 to 2:30 is doing a similar (at times equal) pattern than the main Howling Gears riff. To note, the chord progression here is completely original and the bass riff is clearly not the focus of this entire section (unlike the source where the bass pattern is very clearly highlighted).
• Bass from 2:30 to 3:10 is doing the same notes than in Howling Gears B section.
• 3:10 to 4:30 is clearly using the Howling Gears main melody (slight variation at least).

There's some elements that you pointed out in your description I couldn't really hear like:

• Super saw/synth string (doing a diminished interval in the original) being present from 0:33. Same for the guitar chugs.
• Main arpeggios from the intro being taken from the sources. The descending arpeggios that play at times seems relatively similar to the ones that play on Howling Gears B but curiously you didn't listen them as source usage in your expanded description (but did list them on the first description).

Counting the elements that seem taken from the source, we basically have source material present in some form from 0:52 to 4:30, basically 3:30 mins of a 6 minute track. While this is technically more than 50%, the standards state:

I don't really feel the bass section from 0:52 to 2:30 is identifiable and dominant so, to me, it feels wrong to count it just to clear the technical 50% barrier (which isn't even an actual rule, more of a guide). I can only truly consider 2:30 to 4:30 as identifiable and dominant source usage.

Overall, while I enjoy hearing this quite a bit and think it's generally well produced, I don't really think it has enough dominant (emphasis here) source usage for it to be posted. Others may disagree but that's my take for now.

NO

Edited September 4 by jnWake

[pixelseph ⚖️]

Two sources that don't have a lot of melodic content - can definitely see why this is presenting source problems with my fellow judges. The piece isn't doing itself any favors by saving the most straightforward quotes of the source until the very end of the piece (the bassline rhythmic structure from Howling Gears being used only on the outro, for example).

In times where a source has too simplistic a melody, or its defining features are in other facets of the piece (rhythmic structure, sound design, etc), it becomes much harder to nail down the tie between the remix and the source. And the spirit of Rule 3, as jnWake outlined above, is to make that distinction as clear as possible for the audience. On the panel, we're then tasked to ask, "when I listen to this section, am I making a connection to the source somehow?"

Anyway, that's my preamble, onto the vote.

It's a rare (and welcome!) vote on a VQ track where I don't have qualms with the production. There is some mud in the low-mids when all the layers start to coalesce (1:51 - 2:30, 3:50 - 4:25, 5:11 - 6:00), but it's not pulling me out of enjoying the track, so I'll live. I also agree with jnWake that the arrangement flows nicely - it certainly takes its time with basically a 2-minute slow burn intro, but the transitions between sections are excellent and the writing straddles the line between enough variance to feel developed and enough repetition to feel cohesive.

The biggest problem the track has is source usage, as my fellow Js have noted. Both source tracks have a similar challenge to overcome from a remixing perspective, in that their actual melodic content is sparse to my ear. Howling Gears A has a single actual melodic phrase that I can pinpoint - the diminished leap in the synth. VQ's changed the interval to be something more palatable in the soundscape, but in doing so, I think it changes the character of the phrase enough that it's no longer easy to connect it back to Howling Gears. The arpeggiated runs in Howling Gears B are more clearly delineable, and they're woven in better. That leaves basically the rhythmic structure (the groove), not the notes, of the bassline, guitars, and drums to draw from in Howling Gears. Nidavellir's Shout has the portamento synth line as a melodic figure, as well as the even more melodic melody @ :26 in the source and B section melody @ :48.

To my ear, the first 2:30 minutes of the piece is Howling Gears B (the modified arpeggio is the biggest tie, and even that feels tenuous to me), with the guitar coming in with the altered Howling Gears A melody around 1:12. If I am really listening for it, I can hear the Latin groove of the source's bassline at 1:50, but again, it's tenuous. 2:50 - 3:09 is much easier to identify as Nidavellir's Shout from the melody; I can't count the ostinato as the chord it outlines is not unique enough to Nidavellir's Shout. 3:10 - 4:27 comes back to Howling Gears B with the melody front and center in the guitar, and 4:32 - 5:11 returns us back to that modified Howling Gears A. 5:12 - 5:50 has no connective tissue that I can identify, and then we get the groove of the source bassline in the bass from 5:50 - 6:10.

Timestamping gives me 233 seconds out of 376, or ~62% source if I include the tenuous spots, ~51% source if I don't (194 seconds out of 376).

What it's coming down to, for me, is that I have to strain to hear the sources in this piece when our standards ask for very clear and identifiable - dominant, even! - source use. I think this is arranged and produced well, but all of the connective tissue just doesn't come through enough for me to pass this one. I would need to hear more clearly defined ties to the source, preferably early on in the track (within the first minute or so).

NO (resubmit)