In his Auroral Sector, things become a lot trickier. Cor Caroli is a Mighty fighter and commander, but he is also a sophisticated creator and strategist. Onei is now inside the star, approaching its core. There are multiple branching pathways in this Auroral Sector with enemies to fight, obstacles to traverse, and puzzles to solve on nearly every path. Onei gets the feeling that a secret pathway exists that leads to an extra special area.
[LOOP START - | TIME SIGNATURE - 19/8]
I don't expect that many people to agree with me but after listening to every one of these tracks this is definitely the best composed for sure. The transition is a little odd but I think it can be forgiven in the case of working in such a difficult time signature. That aside; the melody here stands out as a very classic dance between two distinctly different synths on the soundfont with the bass drum playing on every bass note you want to be emphasized in the sequence.
Feb 17, 22
@inxile412 , you should do song reviews for a living. this is amazing. 100% perfectly right
Feb 17, 22
So all in all, I think the effort here specifically is incredible even compared to some of the other tracks I also think are really great. Again, the transition to the loop is a little strange, mostly because I think that it takes away from the spacey and almost ethereal feeling and makes the composition more stiff and almost.. pirate-y? Still, I couldn't do half as good as that in a 19/8 time signature so I just have to chalk it up to the difficulty of working with it at all.
Feb 17, 22
Note aside, that is a great middle and climax to the trickiness and sophistication in the feel of a level I can only assume is made to accommodate a more hectic environment with a higher bar for execution on the player's side. The way the drums are constantly coming in from the sides and.. while maybe not completely intentional; the way the arps take over the background melody and makes it a bit unintelligible when the notes get higher actually adds to the chaos and makes it a better feel.
Feb 17, 22
Of course, a lot of that drum and chord detail would be lost on actual soundfonts; good thing we live in a time where we can make the most of the retro aesthetic and modern detail alike since you're not making music to be played on a piece of plastic. And then it shares what most of your tracks do, a return to the original chorus in a more quiet manner which is probably the best thing you can turn to. If I had to be absolutely picky as fuck I'd say that the note at is an odd choice.
Feb 17, 22
*agrees 100000%
Feb 17, 22
Those are two of the more common practices that great composers from the SNES/Genesis era would use to manipulate the very limited soundfonts into more interesting results. Furthermore, the way on the third measure of the melody the two start to play together briefly which is entirely just good composition all around and very telling that you've probably spent a lot of time studying certain tracks to figure out how to capture the magic of why that works so well. Either that or you're a genius.
Jan 3, 21
How do you even count this lmao
Jan 3, 21
woahly shit, that's a sick time signature
you and your fucking signatures, amazing!
forgot how cool this one was
I don't expect that many people to agree with me but after listening to every one of these tracks this is definitely the best composed for sure. The transition is a little odd but I think it can be forgiven in the case of working in such a difficult time signature. That aside; the melody here stands out as a very classic dance between two distinctly different synths on the soundfont with the bass drum playing on every bass note you want to be emphasized in the sequence.
How do you even count this lmao
woahly shit, that's a sick time signature you and your fucking signatures, amazing!
19/8??? Whacky bro