Liontamer ⚖️ Posted August 24 Posted August 24 Artist Name: Ridiculously Garrett This submission is a remix of Valley of Bowser in the style of boom bap. It relies heavily on audio samples from Erik Jackson's "Fat Laces" pack as well as some auxiliary samples from Bitwig Studio's library. https://hiphopdrumsamples.com/products/erik-jackson-fat-laces-sample-pack?_pos=2&_sid=f4a138a3d&_ss=r We start with a fade in of a drum break and a tight transition into a new drum sound. At 0:15 we hear the bass pedal from the tune. Rhythms are changed to fit the drums, and also changed for the reasoning that the original source bass line is extremely repetitive. There is some side chain in the bass being triggered by a separate 808 kick track, volume mixed down a bit from the drum track but not completely silent. At 00:30 we transition to the original chords of the tune played on vibraphone with some dark laughter and thunder. 808 kick presents more in the mix. Bass pedal continues and drums drop out. We're left with shaker and clave for a moody breakdown. At 00:45, we go into the full groove, with drums, shaker, and conga. Vibraphone moves up an octave and scratch sample plays simultaneously. At 01:17, we get a tight transition back into the drum sound from the beginning of the track, with an original chromatic descending bass line to break up the tonality a bit. At 01:32, we return to the original tune, this time doubling the harmonic rhythm and played by piano. The original semitone chord planing movement is kept in tack, but the piano plays dissonant chords instead of the originals for further variance of tonality. This is combined with an eight note saxophone pattern (also hear a silly Bowser sound effect in the middle of this section). At 02:03, we return to the clave breakdown. At 02:19, we continue on to the main chorus section again. At 02:48, we tight transition back to the beginning drum pattern, and laughter and thunder take us out to the end of the track. About every 8 bars in this arrangement, we have drum fills combined with reverse cymbals, or just cymbals, which give the tightness of the transitions. Drums fills are cross faded for dynamic contrast. Side chain on bass, as well as on piano, saxophone, and vibraphone. Some delay on these elements as well. All in all a pretty straightforward arrangement, doing some surprising things, but ultimately sticking to the original closely. This arrangement is in particular inspired by artists Biggie Smalls and Big L, at the very least in spirit. It captures that classic dissonant sound of east coast jazz influenced hip hop. Games & Sources Game: Super Mario World Release Date: November 21, 1990 Composer: Koji Kondo Source: Valley of Bowser
prophetik music ⚖️ Posted August 29 Posted August 29 fade in (haven't heard that in a long time). bass comes in and isn't really the original's but is reminiscent of it. there's a lot of mud down there around the bass. the vibes with the 'melodic content' (i use that term lightly) come in soon after and the track is more recognizable at this point. i like the vibrato on the vibes, it's well-used here. 1:17's a transition to the opening feel, and the snare variation is similar to the earlier scratch work. the sax that comes in after this is a bit forward - adding a bit more room tone might make it sit back in the mix a bit more. there's a break at 2:03 with just the bass, clave, kick, and vibes. we get another chorus after this of the scratch, another 8 with the opening drumloop, and it's done with some sfx. there's some fadeout cleanup that could be done there - i can hear one of the sfx clips ending. this is an interesting approach to a highly non-melodic original. i think it does a good job representing the original without going too far afield in an effort to make something big out of it. i like the vibes especially, they make the piece. YES
Liontamer ⚖️ Posted August 31 Author Posted August 31 The track was 3:12 long, so I needed to hear the source tune in play for at least 96 seconds for the source material to be considered dominant in the arrangement. :30.5-:44, :45.75-:59.5, 1:00.75-1:14.75, 2:02.5-2:16.5, 2:18-2:31.5, 2:33.5-2:47 = 82.25 seconds or 42.83% Some percussion patterns, as basic as they are, are also taken from the source (and expanded on), for example from :15-:30 before the start of the melody, so that more than pushes the source usage into the majority of the track length. Great job also having original beat-writing that was obviously inspired by the overall flow of the original track; everything fit like a glove. The sax sample from 1:32-2:02 was limper than a wet noodle, but it was the only thing I would have changed about this piece. Otherwise, the sound design was awesome; loved the scratches, voice FX, vibes, beats, shakers, everything about this. What a commendable job giving such a minimal theme -- only 16 beats -- a coat of personality [sic]. Boom bap goes the dynamite. Ridiculously good, Garrett. :-D YES
Hemophiliac ⚖️ Posted September 6 Posted September 6 A strength of this is that despite it being simple and doesn't have much variation in the actual patterns played. There is always something changing up the texture so it doesn't just seem identical to what just preceded it. The intro bass (0:15) doesn't have the same octave leap up as the source, but still feels like the original because the rhythm is the same, and has the same phrasing. The genre adaption was done well, and the interpretation was unexpected. Very neat idea. The turntablism is awesome. My only real complaint is the sax didn't sound great, especially with it just being repeated notes. It was more exposed than the other elements as well, more wet on the reverb could have helped it blend in more. That said, this was rad and unexpected. YES
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