Some years, you reach the end of them, and everyone's saying that it was over before they knew it, that it felt more like a month than a year, that time sure does fly, etc. Well, personally, 2009 felt L-O-N-G to me. In a good way, most of the time... So much happened, so many mixes, projects, site changes, life changes... heck, even geo/socio/econo/political change was all around us. A lot of folks, myself included, are either getting ready for or already en route to MAGFest, and it really feels like it's been MORE than a year since M7. We've got nothing too specific planned for our panel - as always, we'll probably formalize things an hour beforehand - but I know we'll be talking about all the truly amazing things we accomplished in 2009, and I know Taucer and B-mut will be making the audience drool with a tantalizing preview of the DKC2 uber-project - and probably shaming me publicly for not having finished my tracks yet. Other than that, I'm planning on just chilling and having a good time.
When we talk about OC ReMix in 2009, the first album that pops into mind from a chronological perspective is the humongous (in title and content) Summoning of Spirits: An Arrangement of Music from Tales of Phantasia and Tales of Symphonia. Man did that album take a long time, but man was it worth it, starting Q1 off with a bang. This track of Brad's definitely stands out as being a unique cut, blending a funky bass with his trademark jazzy sax noodling, then adding in some really rather solid vocals. tpom can definitely rock the singing, as we heard back on Thieves of Fate, but this might be his best yet. He writes... at length & sans capitalization:
"i originally started this mix by taking the arpeggiated background synth and the melody (in the strings) and seeing what i could create out of them. i knew i wanted to do something with vocals, and i knew i wanted it to be more in the laid-back instrumental vibe i've been writing in lately. so i booted up my funk machine (also known as virtual bassist) and started writing. after i had the drums and bass laid down, the rest of the track came together pretty quick. i tried to not change the melody at all - something i prefer to do with all my remixes - and instead tried to fit my words to the music already written. it was a really different experience composing with vocals, since you have to worry about stuff like text stress, vowel placements, etc. i recorded this in my dorm room (which is why it sounds so hollow) right before the deadline, so there's some vocal irregularities that wouldn't normally be there (i was a little sick at that point). i'd fix them, but i've grown attached to the sounds i made before, and am loathe to take them out.
the sax solos were done on tenor, alto, and soprano saxophones. it should be obvious which is which. the lyrics were specifically written to be what some people call 'crossover' lyrics - meaning that they can have both a spiritual meaning as well as a general, non-religious one as well. you'll note that i tried to fit phrases from the game into the lyrics, the most notable being 'as time goes on'.
i used virtual bassist, virtual guitarist, addictive drums, guitar rig 3 for both the guitars and my voice, ueberschall's elastik and liquid instruments vsts, and NI's B4 II. great organ, that is. fantastic. i also used some of FL's vsts, notably the Love Philter for the guitar gate. i recorded in audacity and mastered in FL 7 or 8, can't remember which i had at the time. i used melodyne to make my voice sound like i wasn't a dying cat (at that point, i was hoarse enough to sound like one, too)."
Quite a bit of background, there, but it does provide a lot of insight and I think Brad's comments come through when listening to the mix. Judges did initially have significant beef with the mixing, citing vocals clashing w/ the sax, but mr. mephisto sent in this revised version where more balance has been restored, prompting OA to give him some Eli Porter props:
Before: "...once the vocals come in, they are almost indecipherable because of a lot of clashing effects added"
After: "Things sit a lot more evenly and the emphasis is where it should be. Thanks for taking a second look, Brad. You da best mayne."
I really dig the combination of elements, here - gated guitar panned right, sax all over the place, extremely funky bass, simple drums perhaps but I adore the meaty snare used, and the heavy processing on Brad's voice makes it sound appropriately timeless/ethereal.
on 2012-04-25 12:39:22
Whoa, first off, that sax.....so sexy. I love the lyrics and vocals to this ReMix, and while I do enjoy the echo in it, it sounded like there was just a hair too much echo on every part except for the when the sax cut and other parts cut off and we got to the more organy parts. I think it was just a little too busy, that's all, no big deal. Honestly, besides that little nitpick, this is a very cool mix. I even liked the fading ending.
on 2011-12-12 06:08:01
I recall this fondly from Summoning of Spirits It may not have had the most precise production, but there was something about the arrangement back then that had its charm.
Right from the bat, I sense that Brad's vocals ended up making a much more significant presence than in the original, and the call-and-response between that and the saxophone feels similarly more relaxed with the saxophone not sticking out as much this time. I've also sensed that the organ parts, particularly in the mellower second verse, feeling somewhat gentler than they were as well. These elements coupled with the more subtle drum processing work have managed to help give it a more relaxed charm than the album version, which to me can be seen as a good thing. The upgrade was worth it!
The straight-forward arrangement of the original still remains but given the structure of the song it's definitely not a bad deal at all. What DOES remain though was a slightly weak fade-out, which can pretty much be sensed when the volume is turned up really high; to hear the saxophone and beat just fizzle along slightly abruptly and finish without a climax is in my opinion a weak way to approach the ending, but thankfully isn't much of a problem now that the rest of the production concerns were addressed.
Nice going again with the upgrade Brad! And please don't vanish from OCRemix any time soon either, between this and your various other contributions you're seen as a potent figure within the community
on 2010-12-10 21:22:26
Big fan of this track. It was one of my absolute favorites from the Tales album, and this modified version does not disappoint either. While some may pick on the occasional awkward lyrical pace, I admire this mix for the obvious infusion of emotion. Whether you like this mix or not, the listener can tell that Prophet sings these words and swings his saxes with a personal passion. Also a fan of the wide echo/reverb used here, creating a very ethereal atmosphere.
on 2010-12-08 14:10:17
I enjoyed the sax at the beginning of the track, but for me this track gets a little busy when the vocals kick in. When the section with the organ and vocals starts around 1:55, things clear up and an excellent, almost mystical tone is set for the rest of the mix. Great work on the vocals as well. Good mix!
on 2010-01-07 13:03:04
I liked this one the first time around and I like it even more now . I really love the saxophone work and the processing on the vocals is really nifty, too. Great job!
on 2010-01-06 15:08:01
Next time you don't like your vocal take- just redo it until it's right- it's not like the Tales album deadline was pressing!
Much improved over the album version, and a step up from the RD stuff too. Keep working to improve, mayne!
on 2010-01-06 04:03:06
You know, somehow I missed this from the original project - I want to relisten to it again to catch a few other tracks that I seem to remember liking somewhat.
Brad has a surprisingly good voice, and melds it well with his sax playing.
One thing that bothers me somewhat is the background synth that plays for most of it - I think the track would have a more sexy groove to it without it although I guess that would be a different interpretation.
Otherwise, this is pretty nice.
on 2010-01-05 10:41:29
Haha porn musikz
didn't we just talk about this on the phone like two days before this was posted?
thanks to the props, everyone! i don't mind critiques, either, so thanks for that as well. everything will help me improve down the line.
on 2010-01-01 22:31:59
I really like this track, if I could say anything the echo effect is a little strong on this track but AMAZING nonetheless.
on 2010-01-01 12:31:14
Haha porn musikz.
Vocals are a bit drowned to the back of the soundscape with the verb and fx. Cool idea for the tone and texture of the vox though. Sucks that this song has the corniest title ever if you've seen Casablanca haha. Like the style of this one though with the subtle mix of electronics.
on 2010-01-01 06:01:52
I approve of this product and/or service.
on 2009-12-31 20:58:48
No offense to Prophet, but this isn't my favorite mix of his. One thing that bothered me were that the way the vocals were written. I felt like there was too much sliding through the source to fit a line in, so that the line overall just doesn't sit right. It sounds too much like it's a line written over the source vs. a line that was meant to be the source, if that makes sense. An example of this is 1:55 with "Why hast thou forsaken me" 'Hast' takes up two syllables, as well as 'for' somewhat awkwardly. I would have preferred either a change of the lyrics or a chance in the line (which I know isn't what Proph was going for).
I'm also not crazy about the effect used for most of the mix that makes the vocals very distant and fuzzy sounding. I get what he was going for in this, but the first half especially is difficult to make out because of this, and there is such a drastic difference at 1:55 that it bothers me.
Lastly, while the balance between sax and vocals is improved from the album version, I feel like there is still a ways to go to avoid the clashing between the two that makes the sax very difficult to hear and the lyrics difficult to make out. Too much treading on toes, in my opinion.
What I like about the mix is the overall vibe that Prophet went for in this, and the idea of the lyrics. They suit the mood of the original source very well. I can also hear a good improvement between this and his work on the Thieves of Fate album, and I know he will continue to improve.
on 2009-12-31 14:18:18
Mmm, the new mixing sounds a lot better! When I first heard this on the album I had a big issue with this track because of how obscured the vocals were, but apparently it just took a bit of tweaking to get it right I'm not a huge fan of such blatant vocal effects, but in this particular case I think they work well with the mood.
The live instruments mesh well with the rest of the soundscape, and the performances are top-notch, as I've come to expect. Definitely one of the more memorable SoS mixes! Glad to see it finally posted!
on 2009-12-31 13:59:39
What did you think? Post your opinion of this ReMix.
Sources Arranged (1 Song)
- Primary Game:
Tales of Phantasia (Namco, 1994, SNES)
Music by Motoi Sakuraba, Ryota Furuya, Shinji Tamura, Toshiyuki Sekiguchi
- "As Time Goes On"
- Saxophone, Singing, Vocals: Male
- Lyrics > Lyrics: Original
- 9,172,689 bytes
as i wait in the moonlight
my thoughts tumble without sense
i long for you in the twilight
i need your touch, i need your presence
oh, where are you
when I need you, more and more, every
day, as time goes on
you are love to me
why hast thou forsaken me
i love you with all my will
my heart cries out to be
with you all of my days
oh, where are you
when I need you, more and more, every
day, as time goes on
you are love to me
- Size: 9,172,689 bytes
- MD5 Checksum: 159d3af133a02c7d141267d301649619
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