LogFAQs > #952512291

LurkerFAQs, Active DB, DB1, DB2, DB3, DB4, DB5, DB6, DB7, Database 8 ( 02.18.2021-09-28-2021 ), DB9, DB10, DB11, DB12, Clear

Topic List	Page List: 1
Topic	Mycro ranks the 278 VGM tracks nominated by BOARD EIGHT [rankings] 3 -(TOP_100)-
Toxtricity 04/05/21 11:06:03 PM #23:	100st Game: Final Fantasy VIII Title: Compression of Time Composer: Nobou Uematsu Nominator: @azuarc https://www.youtube.com/watch?v=l75zjpDpAWs Visualizer: https://www.youtube.com/watch?v=CtsLenGMA6s i put way too much effort into this visualization for something where i messed up and accidentally ended the oscilloscope part of it slightly early, sorry! Hi nobobosudgfbnsoithmewopri5mh OK SO HERE WE GO GOT A SONG like when i say ' i dont like nobou uematsu as much as other people do because he is too mechanical and empty' I AM NOT TALKING ABOUT THIS SONG because i love how mechanical and empty this is. It's super cool dark and oppressive almost as dark as drakengard1. this actually barely takes advantage of ps1's sequence format at all, as that can handle like 24 notes at once and this sticks at max 7 polyphony lol, and yet it doesn't need to go above that at all, not to convey the vibe that it conveys. the simplicity is ironically so much of why i find this so cool harmonically this lingers around chords I really like, implying these chords without ever actually playing any chords. the sus4 (c/f/g) at :19 being the first like ""not dissonant"" set of notes in that main ostinato is really POWERful; just a change in one note;;;;and then it changes back to the original 'dissonant' set of notes but like these initially dissonant c#/f/g notes suddenly sound like ""pretty?!"" and ""Dramatic?!?!"" somehow WOW. idk it's just really cool to me. it's crazy hjow much just a few surrounding harmonies that are more conventional (just straight up minor triads and stuff in the other layers) layed upon that strange tense layer add up to something unexpectedly beautiful in the end. It kinda reminds me of some zzzv tunes that start out with a dissonant implication but recontexualize everything as more harmonious stuff as other layers get added. Later on the harp bit leans mostly toward implying nice pretty 4-voice 7ths chords and stuff and that is pretty and sounds like a 'water fall'; even though there's not really anything like this in the song, what i like is how it makes it so that if there were more melodic layers in the song, they'd have to alternate between two keys every time the tonal center shifts enough. at least to ME the c#/f/g sections (along with everything else) tend to imply f minor (or c# lydian) while the sus4 c/f/g sections imply c minor. that makes for some neat melodic intrigue if one's to add any other layers over this and highlight those differences. I decided to NOODLE around a bit and record a (not that good or interesting by my own standards) improvised solo over it that does a bit of stuff that highlights the differences between those two feelings. it's imo actually tonally ambiguous enough that there's other interpretations that might sound 'better' to people than how i feel the scales, but this is what i hear when i hear this song: https://www.youtube.com/watch?v=L-X2dLUmkrk hmm i should've played more stuff that made a big melodic deal about how the next note was either going to be c# or d depending on which scale it was about to shift to next OH WELL maybe next time i noodle on my key board over this song i will do that more the ostinato at the start has such a creepy rhythmic ambiguity to it, it's alternating between those 3 notes but not in a rhythmically easy to follow way, despite how empty and minimal what's happening is, and that's definitely something i look for! this doesn't really get solidified as having a 4/4 feeling until other layers come in---and even then, it's still tricky to feel that if you're trying, lots of layers focusing around groups of 3, or 3:2 polyrhythms (that go over the barline!) like in the harp bit emotionally this tune resonates with me a lot; partly just bewcause i love DARK DUNGEON atmosphere to things (and the resultant ""subdued enough to be background music, but rewarded with puzzling intrigue at subtle intricacy if you choose to listen more actively"" i always say i love so much) ,, ,, , but also because of its gradual transition from the initial almost gross sounding series of notes to something beautiful and mysterious. i think this is a song i would've been even more into when younger, particularly. i had a thing for like ""conventional minor/etc tonality layered beneath something really dissonant that is something else"", and actually wrote a lot of stuff that felt very much like this, tho more edm-y. --- time <cite>Toxtricity posted [p:952512291] in Mycro rank... [t:79374344]...</cite> <quote>100st Game: Final Fantasy VIII Title: Compression of Time Composer: Nobou Uematsu Nominator: @azuarc https://www.youtube.com/watch?v=l75zjpDpAWs Visualizer: https://www.youtube.com/watch?v=CtsLenGMA6s i put way too much effort into this visualization for something where i messed up and accidentally ended the oscilloscope part of it slightly early, sorry! Hi nobobosudgfbnsoithmewopri5mh OK SO HERE WE GO GOT A SONG like when i say ' i dont like nobou uematsu as much as other people do because he is too mechanical and empty' I AM NOT TALKING ABOUT THIS SONG because i love how mechanical and empty this is. It's super cool dark and oppressive almost as dark as drakengard1. this actually barely takes advantage of ps1's sequence format at all, as that can handle like 24 notes at once and this sticks at max 7 polyphony lol, and yet it doesn't need to go above that at all, not to convey the vibe that it conveys. the simplicity is ironically so much of why i find this so cool harmonically this lingers around chords I really like, implying these chords without ever actually playing any chords. the sus4 (c/f/g) at :19 being the first like ""not dissonant"" set of notes in that main ostinato is really POWERful; just a change in one note;;;;and then it changes back to the original 'dissonant' set of notes but like these initially dissonant c#/f/g notes suddenly sound like ""pretty?!"" and ""Dramatic?!?!"" somehow WOW. idk it's just really cool to me. it's crazy hjow much just a few surrounding harmonies that are more conventional (just straight up minor triads and stuff in the other layers) layed upon that strange tense layer add up to something unexpectedly beautiful in the end. It kinda reminds me of some zzzv tunes that start out with a dissonant implication but recontexualize everything as more harmonious stuff as other layers get added. Later on the harp bit leans mostly toward implying nice pretty 4-voice 7ths chords and stuff and that is pretty and sounds like a 'water fall'; even though there's not really anything like this in the song, what i like is how it makes it so that if there were more melodic layers in the song, they'd have to alternate between two keys every time the tonal center shifts enough. at least to ME the c#/f/g sections (along with everything else) tend to imply f minor (or c# lydian) while the sus4 c/f/g sections imply c minor. that makes for some neat melodic intrigue if one's to add any other layers over this and highlight those differences. I decided to NOODLE around a bit and record a (not that good or interesting by my own standards) improvised solo over it that does a bit of stuff that highlights the differences between those two feelings. it's imo actually tonally ambiguous enough that there's other interpretations that might sound 'better' to people than how i feel the scales, but this is what i hear when i hear this song: https://www.youtube.com/watch?v=L-X2dLUmkrk hmm i should've played more stuff that made a big melodic deal about how the next note was either going to be c# or d depending on which scale it was about to shift to next OH WELL maybe next time i noodle on my key board over this song i will do that more the ostinato at the start has such a creepy rhythmic ambiguity to it, it's alternating between those 3 notes but not in a rhythmically easy to follow way, despite how empty and minimal what's happening is, and that's definitely something i look for! this doesn't really get solidified as having a 4/4 feeling until other layers come in---and even then, it's still tricky to feel that if you're trying, lots of layers focusing around groups of 3, or 3:2 polyrhythms (that go over the barline!) like in the harp bit emotionally this tune resonates with me a lot; partly just bewcause i love DARK DUNGEON atmosphere to things (and the resultant ""subdued enough to be background music, but rewarded with puzzling intrigue at subtle intricacy if you choose to listen more actively"" i always say i love so much) ,, ,, , but also because of its gradual transition from the initial almost gross sounding series of notes to something beautiful and mysterious. i think this is a song i would've been even more into when younger, particularly. i had a thing for like ""conventional minor/etc tonality layered beneath something really dissonant that is something else"", and actually wrote a lot of stuff that felt very much like this, tho more edm-y. --- time</quote> ... Copied to Clipboard!
Topic List	Page List: 1