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The 'Shroom:Issue 107/Palette Swap: Difference between revisions
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Oh man, this next track. I have been working on Steely Dan's magnum opus, "Aja", since mid-2015. I was supposed to have it done once or twice before now, but repeated hard drive failures and life issues have prevented me from completing this monstrosity until now. Widely regarded as Steely Dan's greatest song, it is an 8-minute jazz rock epic that paints a beautiful picture of escaping the aggravating expectations of life to simply be with the person you love most. It's a charming piece that has some of the most absurd chords I've come into contact with. I tested out some new techniques in this song, such as trying to get waves to naturally [[wikipedia:Flanging|flange]]. You can hear this particular trick really prominently from around the 7:30 mark onwards. | Oh man, this next track. I have been working on Steely Dan's magnum opus, "Aja", since mid-2015. I was supposed to have it done once or twice before now, but repeated hard drive failures and life issues have prevented me from completing this monstrosity until now. Widely regarded as Steely Dan's greatest song, it is an 8-minute jazz rock epic that paints a beautiful picture of escaping the aggravating expectations of life to simply be with the person you love most. It's a charming piece that has some of the most absurd chords I've come into contact with. I tested out some new techniques in this song, such as trying to get waves to naturally [[wikipedia:Flanging|flange]]. You can hear this particular trick really prominently from around the 7:30 mark onwards. | ||
Our third Valentine's track is by country pop sweetheart, Taylor Swift. In a genre dominated by awful and repetitive tropes, Taylor Swift stands out as someone who's doing something worthwhile that will actually be remembered by people decades down the road. Even if Miss Swift isn't bringing anything completely new to the table, she's perfecting a genre that's needed a swift (ha) kick in the butt for a long, long time. I can't even really say she's had a mediocre album, let alone a ''bad'' one. "You Belong with Me" is one of her many characteristically memorable tracks, the video for which, accidentally managed to inspire the [http://knowyourmeme.com/memes/kanye-interrupts-imma-let-you-finish Kanye Interrupts] meme. A bit of an oddity in this particular chiptune, I decided to use a chiptune "organ" sound during the choruses. I think I've only used it [https://soundcloud.com/8-bit-amphitheater/duran-duran-union-of-the-snake-chiptune once before], but I found that it gave the chorus a really huge, full sound. The whole thing, if I may say so, is among the cutest chiptunes in <i>8-Bit Amphitheater</i>'s catalog. | Our third Valentine's track is by country pop sweetheart, Taylor Swift. In a genre dominated by awful and repetitive tropes, Taylor Swift stands out as someone who's doing something worthwhile that will actually be remembered by people decades down the road. Even if Miss Swift isn't bringing anything completely new to the table, she's perfecting a genre that's needed a swift (ha) kick in the butt for a long, long time. I can't even really say she's had a mediocre album, let alone a ''bad'' one. "You Belong with Me" is one of her many characteristically memorable tracks, the video for which, accidentally managed to inspire the [http://knowyourmeme.com/memes/kanye-interrupts-imma-let-you-finish Kanye Interrupts] meme. A bit of an oddity in this particular chiptune, I decided to use a chiptune "organ" sound during the choruses. I think I've only used it [https://soundcloud.com/8-bit-amphitheater/duran-duran-union-of-the-snake-chiptune once before], but, in this song's case, I found that it gave the chorus a really huge, full sound. The whole thing, if I may say so, is among the cutest chiptunes in <i>8-Bit Amphitheater</i>'s catalog. | ||
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|r1c6= ''[[zeldawiki:The Legend of Zelda: Ocarina of Time|The Legend of Zelda: Ocarina of Time]]'' OST — 1998 | |r1c6= ''[[zeldawiki:The Legend of Zelda: Ocarina of Time|The Legend of Zelda: Ocarina of Time]]'' OST — 1998 | ||
|r1c7= {{ShroomYoutube|-uInmFU6JkU|Original}} | |r1c7= {{ShroomYoutube|-uInmFU6JkU|Original}} | ||
|r2c1= "Vs. Champion [[bulbapedia:Cynthia|Cynthia]]", by | |r2c1= "Vs. Champion [[bulbapedia:Cynthia|Cynthia]]", by Gō Ichinose | ||
|r2c2= {{ShroomYoutube|sbBKGgRw_zg|YT}} | |r2c2= {{ShroomYoutube|sbBKGgRw_zg|YT}} | ||
|r2c3= [https://soundcloud.com/8-bit-amphitheater/pokemon-diamondpearlplatinum-ost-vs-champion-cynthia-chiptune/s-xhaKA SC] | |r2c3= [https://soundcloud.com/8-bit-amphitheater/pokemon-diamondpearlplatinum-ost-vs-champion-cynthia-chiptune/s-xhaKA SC] | ||
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After this, Toru Minegishi would continue to work on sound design for games such as ''[[Mario Golf: Toadstool Tour]]''<ref>http://www.gamefaqs.com/gamecube/557720-mario-golf-toadstool-tour/credit</ref> and ''[[Mario Pinball Land]]''<ref>http://www.gamefaqs.com/gba/920192-mario-pinball-land/credit</ref>, as well as assisting {{ShroomYoutube|rPIv3I-3-j4|in the score for}} ''[[Yoshi Touch & Go]]'' alongside Kazumi Totaka and Asuka Ohta<ref>http://www.n-sider.com/gameview.php?gameid=881&view=credits</ref>. His next massive project wouldn't spin around until 2006, where he would be tasked as the lead composer for ''[[zeldawiki:The Legend of Zelda: Twilight Princess|The Legend of Zelda: Twilight Princess]]'' with assistance from Asuka Ohta, with Koji Kondo once again operating as his supervisor on the project. This was Minegishi-san's first foray into the realm of audio direction in the company, and proved a whole new experience for him as he now had to communicate and get involved with all the other aspects of the development team to get a better idea of which direction to take the music, and then he would need to relay that information to his superior, Kondo-san. With the darker, more melancholy atmosphere being explored in ''Twilight Princess'', Minegishi-san and Kondo-san wanted to be careful to balance mood and atmosphere with catchiness and noticeability, knowing well that the sound direction of ''Zelda'' games has always been a major selling point for the emotional impact of the franchise; Koji Kondo initially envisioned a massive orchestral score with lyrical performances, but dropped the idea {{ShroomYoutube|iryO0ksUeSc|in favour of}} {{ShroomYoutube|tXEnAuzjgKU|sequenced music}} {{ShroomYoutube|RYl2xkIyU9w|due to his}} {{ShroomYoutube|pRHoPxAfy_Q&|view that}} {{ShroomYoutube|aTQBoxy5Eec|orchestral music}} {{ShroomYoutube|WsVT_-RsONg|"wasn't interactive enough"}}.<ref>http://www.zelda.com/universe/game/twilightprincess/inside04.jsp</ref> Still doesn't explain with {{ShroomYoutube|7PHwym5QKMc|'''''this'''''}} is allowed to exist, tho. | After this, Toru Minegishi would continue to work on sound design for games such as ''[[Mario Golf: Toadstool Tour]]''<ref>http://www.gamefaqs.com/gamecube/557720-mario-golf-toadstool-tour/credit</ref> and ''[[Mario Pinball Land]]''<ref>http://www.gamefaqs.com/gba/920192-mario-pinball-land/credit</ref>, as well as assisting {{ShroomYoutube|rPIv3I-3-j4|in the score for}} ''[[Yoshi Touch & Go]]'' alongside Kazumi Totaka and Asuka Ohta<ref>http://www.n-sider.com/gameview.php?gameid=881&view=credits</ref>. His next massive project wouldn't spin around until 2006, where he would be tasked as the lead composer for ''[[zeldawiki:The Legend of Zelda: Twilight Princess|The Legend of Zelda: Twilight Princess]]'' with assistance from Asuka Ohta, with Koji Kondo once again operating as his supervisor on the project. This was Minegishi-san's first foray into the realm of audio direction in the company, and proved a whole new experience for him as he now had to communicate and get involved with all the other aspects of the development team to get a better idea of which direction to take the music, and then he would need to relay that information to his superior, Kondo-san. With the darker, more melancholy atmosphere being explored in ''Twilight Princess'', Minegishi-san and Kondo-san wanted to be careful to balance mood and atmosphere with catchiness and noticeability, knowing well that the sound direction of ''Zelda'' games has always been a major selling point for the emotional impact of the franchise; Koji Kondo initially envisioned a massive orchestral score with lyrical performances, but dropped the idea {{ShroomYoutube|iryO0ksUeSc|in favour of}} {{ShroomYoutube|tXEnAuzjgKU|sequenced music}} {{ShroomYoutube|RYl2xkIyU9w|due to his}} {{ShroomYoutube|pRHoPxAfy_Q&|view that}} {{ShroomYoutube|aTQBoxy5Eec|orchestral music}} {{ShroomYoutube|WsVT_-RsONg|"wasn't interactive enough"}}.<ref>http://www.zelda.com/universe/game/twilightprincess/inside04.jsp</ref> Still doesn't explain with {{ShroomYoutube|7PHwym5QKMc|'''''this'''''}} is allowed to exist, tho. | ||
[[File:ToruMinegishiConductor.jpg|thumb|right|Toru Minegishi conducting a live orchestra.]] | [[File:ToruMinegishiConductor.jpg|thumb|right|Toru Minegishi conducting a live orchestra.]] | ||
Not long after ''Twilight Princess'', Toru Minegishi would be brought on to the development team of ''[[wikipedia:Wii Fit|Wii Fit]]'' as part of the music design team alongside Manaka Tominaga and [[wikipedia:Shiho Fujii|Shiho Fujii]]<ref>http://www.gamefaqs.com/wii/942009-wii-fit/credit</ref>. This would be an amusing coincidence for Minegishi since he was interested in working on a project involving body balance, due in large part to his background as a drummer, which requires a lot of body balance and coordination in order to play; no one actually knew about his deep fascination with this side of music theory, however, so his involvement with ''Wii Fit'' was described by [[Satoru Iwata]] as destiny.<ref>https://www.nintendo.co.za/Iwata-Asks/Iwata-Asks-Wii-Fit/Iwata-Asks-Wii-Fit-Vol-4/1-From-Zelda-to-Wii-Fit/1-From-Zelda-to-Wii-Fit-204069.html</ref> As opposed to ''Twilight Princess'', which required a more direct, noticeable approach to the music design, ''Wii Fit'' was {{ShroomYoutube|Qv_lnzmzGYg|designed to be}} {{ShroomYoutube|ZLagE49LNlA|as behind-the-scenes}} {{ShroomYoutube|xC08k6pW49U|and ambient}} {{ShroomYoutube|FLCwJYc4QkU|as possible}}, due in large part to the repetitive nature of the game, which could potentially lead to more complex song structures growing old and frustrating very quickly. Toru Minegishi would also work on the scores for both ''[[zeldawiki:The Legend of Zelda: Phantom Hourglass|The Legend of Zelda: Phantom Hourglass]]'' and ''[[zeldawiki:The Legend of Zelda: Spirit Tracks]]'' as among the primary composers, as well as contributing a live guitar melody to the track {{ShroomYoutube|Q47iqNfsA80|"Ballad of the Goddess"}} in ''[[zeldawiki:The Legend of Zelda: A Link Between Worlds|The Legend of Zelda: A Link Between Worlds]]''.<ref>http://zeldauniverse.net/2014/03/15/official-nintendo-magazine-uk-interviews-eiji-aonuma-and-ryu-nagamatsu-discuss-the-development-of-a-link-between-worlds/</ref> Minegishi-san would also be involved in the composition for ''[[Super Mario 3D World]]'' released in 2013, alongside his colleagues Yasuaki Iwata and Koji Kondo, headed by [[wikipedia:Mahito Yokota|Mahito Yokota]], a soundtrack which employed a full live orchestration mixed in with electronics, following up their move into live, organic music with ''[[Super Mario Galaxy]]'' back in 2007. However, unlike ''Galaxy'', ''3D World'' {{ShroomYoutube|cvPoDBRpo1s|was geared}} {{ShroomYoutube|8wR6cHwoZtM|towards jazz-y}} {{ShroomYoutube|J-0hzvMPdnM|big band}} {{ShroomYoutube|l6MfnbeilTY|music as}} {{ShroomYoutube|wFxzHKx1BYQ|opposed to}} {{ShroomYoutube|UR2pkhRW4CQ|bombastic symphonies}}, giving the score a far more doofy sound to it.<ref>http://www.destructoid.com/super-mario-3d-world-features-a-lot-of-live-music-264472.phtml</ref> | Not long after ''Twilight Princess'', Toru Minegishi would be brought on to the development team of ''[[wikipedia:Wii Fit|Wii Fit]]'' as part of the music design team alongside Manaka Tominaga and [[wikipedia:Shiho Fujii|Shiho Fujii]]<ref>http://www.gamefaqs.com/wii/942009-wii-fit/credit</ref>. This would be an amusing coincidence for Minegishi since he was interested in working on a project involving body balance, due in large part to his background as a drummer, which requires a lot of body balance and coordination in order to play; no one actually knew about his deep fascination with this side of music theory, however, so his involvement with ''Wii Fit'' was described by [[Satoru Iwata]] as destiny.<ref>https://www.nintendo.co.za/Iwata-Asks/Iwata-Asks-Wii-Fit/Iwata-Asks-Wii-Fit-Vol-4/1-From-Zelda-to-Wii-Fit/1-From-Zelda-to-Wii-Fit-204069.html</ref> As opposed to ''Twilight Princess'', which required a more direct, noticeable approach to the music design, ''Wii Fit'' was {{ShroomYoutube|Qv_lnzmzGYg|designed to be}} {{ShroomYoutube|ZLagE49LNlA|as behind-the-scenes}} {{ShroomYoutube|xC08k6pW49U|and ambient}} {{ShroomYoutube|FLCwJYc4QkU|as possible}}, due in large part to the repetitive nature of the game, which could potentially lead to more complex song structures growing old and frustrating very quickly. Toru Minegishi would also work on the scores for both ''[[zeldawiki:The Legend of Zelda: Phantom Hourglass|The Legend of Zelda: Phantom Hourglass]]'' and ''[[zeldawiki:The Legend of Zelda: Spirit Tracks|The Legend of Zelda: Spirit Tracks]]'' as among the primary composers, as well as contributing a live guitar melody to the track {{ShroomYoutube|Q47iqNfsA80|"Ballad of the Goddess"}} in ''[[zeldawiki:The Legend of Zelda: A Link Between Worlds|The Legend of Zelda: A Link Between Worlds]]''.<ref>http://zeldauniverse.net/2014/03/15/official-nintendo-magazine-uk-interviews-eiji-aonuma-and-ryu-nagamatsu-discuss-the-development-of-a-link-between-worlds/</ref> Minegishi-san would also be involved in the composition for ''[[Super Mario 3D World]]'' released in 2013, alongside his colleagues Yasuaki Iwata and Koji Kondo, headed by [[wikipedia:Mahito Yokota|Mahito Yokota]], a soundtrack which employed a full live orchestration mixed in with electronics, following up their move into live, organic music with ''[[Super Mario Galaxy]]'' back in 2007. However, unlike ''Galaxy'', ''3D World'' {{ShroomYoutube|cvPoDBRpo1s|was geared}} {{ShroomYoutube|8wR6cHwoZtM|towards jazz-y}} {{ShroomYoutube|J-0hzvMPdnM|big band}} {{ShroomYoutube|l6MfnbeilTY|music as}} {{ShroomYoutube|wFxzHKx1BYQ|opposed to}} {{ShroomYoutube|UR2pkhRW4CQ|bombastic symphonies}}, giving the score a far more doofy sound to it.<ref>http://www.destructoid.com/super-mario-3d-world-features-a-lot-of-live-music-264472.phtml</ref> | ||
The most recent of Minegishi-san's contributions has been ''[[inkipedia:Splatoon|Splatoon]]'', the only game in the world where you can be a kid now, and a squid now, which saw him take the reins as the lead sound director once again, working with Shiho Fujii as his subordinate. With the very 90s "cool kid" aesthetic of the game, Minegishi-san {{ShroomYoutube|CThSUoNOQAA|thought to}} {{ShroomYoutube|fNWcciC-8bA|structure the}} {{ShroomYoutube|_otG6bjKy9w|soundtrack primarily}} {{ShroomYoutube|wRytjitcSbw|around various}} {{ShroomYoutube|e1gIL6ib-Bo|forms of}} {{ShroomYoutube|B5eTKxwaEY8|techno, hip hop}} {{ShroomYoutube|gUDFhQCfJps|and punk music}} that were widely popular at that time, with Minegishi-san dividing the music between the two races present in the game - punk for the playable squids, techno for the enemy Octarians... for the most part, anyway<ref>http://nintendokusou.com/new-splatoon-trailer-global-testfire-schedules-and-famitsu-interview-details</ref> Toru Minegishi wanted to reflect the attitude of the world shown in ''Splatoon'', seeking to replicate the sense of carefree spirit present in the character designs and environments by adding that extra bit of power and edge to the music; this can definitely be seen in the {{ShroomYoutube|kPZz6oJi8yE|Squid Sisters' theme}} {{ShroomYoutube|7y51Lzom8zk|and the}} {{ShroomYoutube|K7ylxg1fYZM|Splatfest music}}, which is styled after glamourous, energetic late-90s bubblegum pop, and {{ShroomYoutube|pM1Q2FttI1M|the three-part}} {{ShroomYoutube|uNgpmzi52tc|final boss}} {{ShroomYoutube|IpM2jCR3X4o|music}}, which employs a heavy use of record scratches and acoustic sections not unlike hip hop and drum and bass music that were so prominent in the 1990s, which were written to be in rhythm with the motions performed to make wasabi, as a reference to the boss's original design as a wasabi chef. Don't... ask, the original draft for this game was bloody weird.<ref>http://nintendoeverything.com/splatoon-devs-on-inkling-girl-design-focus-squid-sisters-and-more/</ref> | The most recent of Minegishi-san's contributions has been ''[[inkipedia:Splatoon|Splatoon]]'', the only game in the world where you can be a kid now, and a squid now, which saw him take the reins as the lead sound director once again, working with Shiho Fujii as his subordinate. With the very 90s "cool kid" aesthetic of the game, Minegishi-san {{ShroomYoutube|CThSUoNOQAA|thought to}} {{ShroomYoutube|fNWcciC-8bA|structure the}} {{ShroomYoutube|_otG6bjKy9w|soundtrack primarily}} {{ShroomYoutube|wRytjitcSbw|around various}} {{ShroomYoutube|e1gIL6ib-Bo|forms of}} {{ShroomYoutube|B5eTKxwaEY8|techno, hip hop}} {{ShroomYoutube|gUDFhQCfJps|and punk music}} that were widely popular at that time, with Minegishi-san dividing the music between the two races present in the game - punk for the playable squids, techno for the enemy Octarians... for the most part, anyway<ref>http://nintendokusou.com/new-splatoon-trailer-global-testfire-schedules-and-famitsu-interview-details</ref> Toru Minegishi wanted to reflect the attitude of the world shown in ''Splatoon'', seeking to replicate the sense of carefree spirit present in the character designs and environments by adding that extra bit of power and edge to the music; this can definitely be seen in the {{ShroomYoutube|kPZz6oJi8yE|Squid Sisters' theme}} {{ShroomYoutube|7y51Lzom8zk|and the}} {{ShroomYoutube|K7ylxg1fYZM|Splatfest music}}, which is styled after glamourous, energetic late-90s bubblegum pop, and {{ShroomYoutube|pM1Q2FttI1M|the three-part}} {{ShroomYoutube|uNgpmzi52tc|final boss}} {{ShroomYoutube|IpM2jCR3X4o|music}}, which employs a heavy use of record scratches and acoustic sections not unlike hip hop and drum and bass music that were so prominent in the 1990s, which were written to be in rhythm with the motions performed to make wasabi, as a reference to the boss's original design as a wasabi chef. Don't... ask, the original draft for this game was bloody weird.<ref>http://nintendoeverything.com/splatoon-devs-on-inkling-girl-design-focus-squid-sisters-and-more/</ref> | ||