Просмотр новости
Найдите то, что Вас интересует
Спутники
РН
SpaceX
Роскосмос
NASA
СпутникиРНSpaceXРоскосмосNASA
Artist Name: Nintendo Powered Skull Symbol
MAIN ARRANGER & COLLABORATORS (THE GROUP!):
The Vodoú Queen = arrangement; hand drum, main drum kit and percussion writing / programming; loops & sampling; synths; keys; organ & Wurlitzer synths; SFX & foley; mixing, production & mastering
Zack Parrish = acoustic guitar & electric lead guitar
A.C. Menes = electric rhythm guitar
Roland N. Laracuente Martínez = bass guitar
Cameron Seitzman = alto sax & baritone sax
Isaac Cohen = tenor sax
TSori = Bb trumpet (and mutes)
AarekMG = trumpet (and mutes)
giocko = trumpet
Jackie Fazekas = French horn
Brandon L. Harnish = horn, tenor trombone & bass trombone
jnWake = e. piano; keys; organ (Rhodes/Hammond-style)
Jon Levitt = hand drum, main drum kit & percussion writing / programming
Vadell Gabriel = additional handmade drum loops, sampled SFX & percussion
---
Done for Dwelling of Duels' Manami Matsumae Month (Feb 2026 -- in celebrating her wonderful contributions to the music of games I love to play), the inspiration and this track came from a place deep in my heart, to be honest, and as a means to learn and emulate technique(s) from one of my favorite artists of all time, Prince. Due to February also being Black History Month in the U.S., I wanted to delve deeper into my roots and the core centerpiece of sounds and styles I primarily grew up with up until I hit my pre-teens / mid-teens around the end of middle school / beginning of high school. A few of those to list was Motown -- the Detroit sound -- and the stylings of Black 'New Wave' / R&B artists of that era, like Cameo, Morris Day & The Time, and, Prince (and his many, many iterations of re-brands, re-namings and re-contextualizing of himself over the course of his illustrious career). As part of the spearhead for what's known as and is called the "Minneapolis Sound", Prince is just...something else. It's hard to describe how much adoration I have for most musicians I really like, and why, but he's pretty much up there, and this track was another step in my journey in working with and attaining the skills with working *WITHIN* Black Pop, R&B and Soul music (one of the major others being another remix I'm fixing up for the Panel, that leans heavily into New Jack Swing).
So, this track was not only done for the sake of me honoring BHM and BLM [Black Lives Matter], but also as a part of that soul-searching, in discovering what genre(s) I want to focus and hone-in on, what mash-ups suit me and what I'd like to do if I took serious steps in this as a career, blossoming outside of just a fun side hobby. Absolutely *love* OG Mega Man tracks, and I had 0 idea how GOOD they sounded and could be when transformed into something as hip and swanky as a phat guitar bassline and a dance-y upbeatness of the 'Urban Persuasion'. Since the public reception towards this, Wily Bop, Crystalline, WARCRY and other stuff I've done that's kinda got the...Funk / Hip-Hop aspects intertwined with Synthwave and 80s Rock has been highly positive and extremely GOATed in the compo scene, I hope I can continue on with doing more like this and them...and it was an absolute ride and joy learning the ins and outs and kinda just...immersing myself into Prince's style more objectively, rather than casually -- trying to pick up some of his tactics and ideas...not necessarily "vicariously" or in an "unguided" / no-thinking process, but in just...riding that wave, letting the sounds and music consciously flow THROUGH ME, and guide every part of the decision making from conceptualization to the final dial presses and tweaks for that golden, printed master render.
This one took a lot of time to think over in a little under a month. ...A lot of planning and speaking to people 1:1, and learning from them. A lot of sitting with the tracks from Prince I loved and actively *listening* to what he had to say, and how he was saying it. Watching interviews and breakdowns, and enjoying the vibe -- for the love of the game.
So, dance. ...Dance for the Dijon Prince, and I hope you guys enjoy the track! ;)
Special thanks to this star-studded cast and crew of collab-boppers from the DoD gang and elsewhere. Big hugs and 1-ups to Zack for coming in hot with his always talented guitars and guidance on the mix. Massive thumbs up to jnWake for his additional piano takes and further ears / critique on the mix and master, as well as TSori for happily hopping on-board with his sick AF trumpets. Big hearts and hugs to JohnStacy for his talks and encouragement on the subject, to newmajoe for helping me to parse the rhythm and wrap my head around turning these Wily sources into some hoppin' fresh swing, and to Vadell for his chats about the Prince drum suite and aiding me in beefing up those low-ends with fresh beats! Everyone involved with this track were stellar folks, and I love them all to bits for their help, impressive improvisation moments and awesome talent!
---
MAIN INSPIRATION AND REFERENCE MATERIAL:
- Prince & The New Power Generation, "The Sacrifice of Victor"
To Note: I listened to *a lot* of his work across the board, but decided to stick with Prince's early-to-mid '90s era of sound for the sake of a clear goal to aim for with the track. By the midway point of the track I switched gears to a more Funk-Disco attitude a la the 'L.A. / Miami scene' (ex: "Turn the Beat Around" by Vicki Sue Robinson), but that was because...well...I was taken up by the hand-drums and intimate percussive parts Jon and I thought of, and wanted to weirdly insert that Latin rhythm into it, in the more overtly punctuated Salsa/Cumbia-style of Jazz Fusion. Hope the two sides of the genre mash-up blended well and seamlessly! ^_^
OTHER SOURCE USAGE (NON-VGM):
Some of the fundamental beat management, sampling, drum creation, writing and arrangement are closely defined by and grew from "The Sacrifice of Victor" being its foundation. This includes the snare / tom / kick combo hitting in unison on the 1 & 3 beats (to strengthen and define the swing vibe), a bass drum sample tuned to sound on-par with the one he uses in the song that's backed by his bass guitar hits (ex: starting @ 00:10 of the reference source), the use of a panning vocal chop loop (it happens at the end of a full phrase of the beat; on analyzing the parts of Victor by stem-separation, Prince occasionally whispers "crazy", and it acts as a loop-closer / layer present in the drums), and downbeat orchestra / brass hits that FURTHER emphasizes the 1 & 3 half the low-end keeps beat on. There's also a very close homage to his drumline with the use of the DJ scratch sample foley you can hear left-panned between the beats in his track (ex: happens @ 00:24 & 00:28 of the reference).
Games & Sources
MEGA MAN SOUNDTRACK (VOL. 1); Track 12 - Dr. Wily Stage 1 (NES Ver.) & Track 14 - Dr. Wily Stage Boss; Artist(s): Capcom Sound Team & Manami Matsumae; Release Date: 23 June 2014 [Digital Release]; Label: Capcom Co., Ltd.
1.) "Wily Fortress 1 / Wily Stage 1" Melody [F# minor] -
< ul>
A Part = 00:00 - 00:12; high chiptune note stabs, descending the scale of its key, in steps
B Part = 00:13 - 00:24; longer chippy notes follow the descending pattern, as countermelody to the top layer
C Part = 00:25 - 00:31; bubbly arpeggio (highlighting the chords), plays until the end-phrase; song loops @ 00:32
2.) "Wily Boss Battle / Wily Stage Boss / Yellow Devil Theme" Melody [F major] -
A Part = 00:00 - 00:06; famous 'Yellow Devil' ostinato (low)
B Part = 00:07 - 00:12; YD ostinato (high); song loops @ 00:13
C Part = 00:00 - 00:12; four bass-like notes in a descending pattern that harmonizes with the ostinato and ends in a bass/tom-like fill to mark the looping-point
D Part = 00:00 - 00:12; double-tapping percussive, beat-like 'bleeps' in the background, that goes back and forth between two notes on repeat; ascends and descends with the rest of the soundscape
* Note 1: track is split between the key signatures by following F#m of the Wily Stage 1 key until the breakdown with vinyl spin-down transition @ ~ 2:40, then further descends down to F / Dmin (by -4 semitones) in order to change the instrumental focus to and melodic content becoming Yellow Devil-influenced.
** Note 2: I purposely wrote a jazz 'licc' / 'lick' / 'cumshot (c-shot)' in the bassline somewhere... ;) Bonus points if people can find it and point it out! (HINT: it's in the Yellow Devil e. guitar solo section. . .)
---
REMIX SOURCE BREAKDOWN:
< ul>
START / 00:01 - 00:07 = intro with the Dr. Albert W. Wily infamous UFO SFX on a filter sweep ;)
00:08 - 00:24 = Zack on e. guitars soloing with Roland on bass; they're playing some modified riffing I wrote based on WF1 A (inclusive of the Stage's bassline from the source)
00:25 - 00:41 = trumpets come in strong on that WF1 A punchline, accompanied by jnWake on organ (right-panned instrument)
00:42 - 00:50 = muted trumpets join in playing a slightly tweaked version of WF1 A, supported by A.C. on rhythms highlighting the chord map / progression that's inherent in Wily Fortress 1 (worked out by WF1 bassline + C Part)
00:51 - 1:16 = low-end brass (horns 'n bones) emphasizes WF1 A, helping with the remix rhythm and drive
1:07 - 1:16 = fade-in plucky synth plays WF1 C almost verbatim, with some slight adjustments to note pattern, timing and length to help motivated the transition into the next major part of the track, adjusted for the swing pattern
1:16 - 1:31 = Zack goes ham on the solo; it's improv based on the melody and chords of Wily Boss Battle; Roland follows up and rejoins with *oomph*
1:32 - 1:40 = e. guitar plays WBB A; alto sax sneaks in with some light countermelody based from WBB A/B & C
1:41 - 1:48 = e. guitar plays WBB B
1:49 - 2:05 = bari and tenor sax joins into the WBB A & B repeats on guitar; the low-end woodwinds are doing WF1 B, with a bari in the background putting some swag on it; rising organs panned L/R (mine and jn's) are playing WBB D
2:06 - 2:22 = sax is doin' some riffin', sum noodlin', even; jn's keys with my backing ones are reprising WF1 A with some spice on it
2:23 - 2:31 = the [well-respected] jnWake organ solo, based on WF1 B & chords
2:32 - 2:39 = all the brass comes back in on the crescendo with a reprise of the Wily UFO SFX; they do a collective, unisoned brass hit with a vinyl spin-down effect as they descend for the key change into Yellow Devil territory
2:40 - 2:56 = Cameron's got the spotlight on solo / improv; trumpets and mutes come back and continue the WF1 A legacy
2:57 - 3:13 = Zack's acoustic guitar (panning) slides in to join, playing a more intricate, slightly variant version of WBB A (I wrote it with the patterns shifting as it moves further into the foreground of the sound stage, but still maintaining the core of WBB A & B)
3:14 - 3:45 = trumpets & horns drop out @ 3:30; focus is maintained on the acoustic guitar holding hands with the saxes going crazy in the layer, running it back to WF1 B and Yellow Devil on top (adjusted to be much more akin to the actual source and highlighting recognizability); Issac leads us out with his own improv / solo-style taking massive liberties with the whole source suite; the organs (very softly in the backing), are on a volume rise automation, with WBB D once more
3:46 - END = the brass comes in hot with that final hit, loosely quoting WBB C's weird ass bass/tom-fill thang for that final send-off with all the other instruments
Artist Name: Nintendo Powered Skull Symbol
MAIN ARRANGER & COLLABORATORS (THE GROUP!):
---
Done for Dwelling of Duels' Manami Matsumae Month (Feb 2026 -- in celebrating her wonderful contributions to the music of games I love to play), the inspiration and this track came from a place deep in my heart, to be honest, and as a means to learn and emulate technique(s) from one of my favorite artists of all time, Prince. Due to February also being Black History Month in the U.S., I wanted to delve deeper into my roots and the core centerpiece of sounds and styles I primarily grew up with up until I hit my pre-teens / mid-teens around the end of middle school / beginning of high school. A few of those to list was Motown -- the Detroit sound -- and the stylings of Black 'New Wave' / R&B artists of that era, like Cameo, Morris Day & The Time, and, Prince (and his many, many iterations of re-brands, re-namings and re-contextualizing of himself over the course of his illustrious career). As part of the spearhead for what's known as and is called the "Minneapolis Sound", Prince is just...something else. It's hard to describe how much adoration I have for most musicians I really like, and why, but he's pretty much up there, and this track was another step in my journey in working with and attaining the skills with working *WITHIN* Black Pop, R&B and Soul music (one of the major others being another remix I'm fixing up for the Panel, that leans heavily into New Jack Swing).
So, this track was not only done for the sake of me honoring BHM and BLM [Black Lives Matter], but also as a part of that soul-searching, in discovering what genre(s) I want to focus and hone-in on, what mash-ups suit me and what I'd like to do if I took serious steps in this as a career, blossoming outside of just a fun side hobby. Absolutely *love* OG Mega Man tracks, and I had 0 idea how GOOD they sounded and could be when transformed into something as hip and swanky as a phat guitar bassline and a dance-y upbeatness of the 'Urban Persuasion'. Since the public reception towards this, Wily Bop, Crystalline, WARCRY and other stuff I've done that's kinda got the...Funk / Hip-Hop aspects intertwined with Synthwave and 80s Rock has been highly positive and extremely GOATed in the compo scene, I hope I can continue on with doing more like this and them...and it was an absolute ride and joy learning the ins and outs and kinda just...immersing myself into Prince's style more objectively, rather than casually -- trying to pick up some of his tactics and ideas...not necessarily "vicariously" or in an "unguided" / no-thinking process, but in just...riding that wave, letting the sounds and music consciously flow THROUGH ME, and guide every part of the decision making from conceptualization to the final dial presses and tweaks for that golden, printed master render.
This one took a lot of time to think over in a little under a month. ...A lot of planning and speaking to people 1:1, and learning from them. A lot of sitting with the tracks from Prince I loved and actively *listening* to what he had to say, and how he was saying it. Watching interviews and breakdowns, and enjoying the vibe -- for the love of the game.
So, dance. ...Dance for the Dijon Prince, and I hope you guys enjoy the track! ;)
Special thanks to this star-studded cast and crew of collab-boppers from the DoD gang and elsewhere. Big hugs and 1-ups to Zack for coming in hot with his always talented guitars and guidance on the mix. Massive thumbs up to jnWake for his additional piano takes and further ears / critique on the mix and master, as well as TSori for happily hopping on-board with his sick AF trumpets. Big hearts and hugs to JohnStacy for his talks and encouragement on the subject, to newmajoe for helping me to parse the rhythm and wrap my head around turning these Wily sources into some hoppin' fresh swing, and to Vadell for his chats about the Prince drum suite and aiding me in beefing up those low-ends with fresh beats! Everyone involved with this track were stellar folks, and I love them all to bits for their help, impressive improvisation moments and awesome talent!
---
MAIN INSPIRATION AND REFERENCE MATERIAL:
- Prince & The New Power Generation, "The Sacrifice of Victor"
To Note: I listened to *a lot* of his work across the board, but decided to stick with Prince's early-to-mid '90s era of sound for the sake of a clear goal to aim for with the track. By the midway point of the track I switched gears to a more Funk-Disco attitude a la the 'L.A. / Miami scene' (ex: "Turn the Beat Around" by Vicki Sue Robinson), but that was because...well...I was taken up by the hand-drums and intimate percussive parts Jon and I thought of, and wanted to weirdly insert that Latin rhythm into it, in the more overtly punctuated Salsa/Cumbia-style of Jazz Fusion. Hope the two sides of the genre mash-up blended well and seamlessly! ^_^
OTHER SOURCE USAGE (NON-VGM):
Some of the fundamental beat management, sampling, drum creation, writing and arrangement are closely defined by and grew from "The Sacrifice of Victor" being its foundation. This includes the snare / tom / kick combo hitting in unison on the 1 & 3 beats (to strengthen and define the swing vibe), a bass drum sample tuned to sound on-par with the one he uses in the song that's backed by his bass guitar hits (ex: starting @ 00:10 of the reference source), the use of a panning vocal chop loop (it happens at the end of a full phrase of the beat; on analyzing the parts of Victor by stem-separation, Prince occasionally whispers "crazy", and it acts as a loop-closer / layer present in the drums), and downbeat orchestra / brass hits that FURTHER emphasizes the 1 & 3 half the low-end keeps beat on. There's also a very close homage to his drumline with the use of the DJ scratch sample foley you can hear left-panned between the beats in his track (ex: happens @ 00:24 & 00:28 of the reference).
| # | Наименование новости | Тональность | Информативность | Дата публикации |
|---|---|---|---|---|
| 1 | *NO* Mega Man X6 "Punk Hazard" | 0 | 5.04 | 06-05-2026 |
| 2 | *NO* Metroid Fusion & Castlevania (N64) "Flooded Manse" | 0 | 8.02 | 05-07-2026 |
| 3 | *NO* Mega Man 9 "Mega Sugar Rush" | 0 | 5.84 | 05-07-2026 |
| 4 | *NO* Hollow Knight: Silksong "Born from Neglect, Driven by Hate" | 0 | 6.38 | 08-04-2026 |
| 5 | *NO* Tales of Symphonia "Blizzard Love Triangle" *RESUB* | 0 | 9.01 | 30-05-2026 |
| 6 | *NO* Castlevania II: Belmont's Revenge "Prayer to the Clouds" | 0 | 6.18 | 24-02-2026 |
| 7 | *NO* Suikoden 2 "Winds of Change" | 0 | 9.17 | 30-04-2026 |
| 8 | OCR05051 - *YES* Super Mario Galaxy "What Has Been (And What Can Never Be)" *RESUB* | 0 | 5.45 | 18-05-2026 |
| 9 | *NO* Ecco the Dolphin (SCD) "Echoes of the Machine" *RESUB* | 0 | 7.13 | 21-03-2026 |
| 10 | *NO* Mass Effect 2 "Harbinger" | 0 | 8.52 | 16-06-2026 |