the following section features some nice stutter synths that add some extra color to the recap. The break around 2:41 is a nice break for the ear, and the bass drop into the next section at 3:00 is delicious. nice rich sound - excellent instrument choice. the cello sounds great with the big glisses in there. i agree with gario about the lack of low-end (and despite there not being any real beef down there, it does sound like occasionally there's some collision between the sweep synth in the lower mid range, like around 1:28ish).
melody is immediately apparent, saxophone is well-mastered with a lush verb for the style, and the wide synths and vox sound great. the slowdown stutter synth and initial presentation of everything at 0:30 is just great. " what a great genre adaptation for this. And yes, Jorito even gets a chance to work in his signature vocoder, titular cameo though it may be ) prophetik music had an observant & insightful play-by-play: I love the variety of instruments and also moods/tones - you've got suspense, mystery, adventure, and chill veins running throughout, with a great blend of synthetic & acoustic/performed timbres. Definitely plan to do a few more synthwave tracks with unconventional instruments, stay tuned.
And of course a big thank you to Bobbie Jane, Eleanor, and Chromatic Apparatus for their performances that brought the track to the next level. I'm rather proud of how it all came out, especially since the past 2 years have been pretty unproductive musically, and it's good to get back into the swing of things. I think it works very well in the more cinematic middle section of the track, and it also goes hand in hand nicely with my vague notion to create an EP in this style, with some less conventional instruments, similar to the Ōkami track I created earlier.Īs is usual with my electronic/synthwave-inspired tracks, there's lots of synth layering and octaves going on to create this particular sound, some effects and transitions to keep the flow and bounce in it, and, in general, a good amount of care to make the entire track flow nicely. I also needed another instrument, and decided to go for the cello for this track, an unconventional choice for this genre. Help arrived in the form of Eleanor Hébert, who handled the sax recording and recruited Bobbie Jane Desforges to perform the part. I already had a saxophone part written and was originally wanted to just stick with samples for it, but due to the collaborative nature of the album, I decided to reach out to find a saxophone. Since it was a collaboration album, I also needed a minimum of two guests (something I initially almost forgot about). Due to the arp that's one of the main motifs of the source track, I was instantly inspired to do a synthwave/chillwave style track again. Originally, I opted to do the main theme, but got stuck and wasn't feeling it, so I was glad that this particular track, " The Gate at Finis," became available again. "Wrote this track for the Pixel Mixers Octopath Traveler album, Echoes of Eight.
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