The center little one in Sean Schafianski‘s Remastered Soundtrack: Last Fantasy VI collection, Disc 2 continues from the place Disc 1 left off. Make sure to try the linked evaluate of Disc 1 for dialogue about Sean’s common course of for these Remasters. On this evaluate, we’ll dive deeper into the musical content material!
The guts of Remastered Soundtrack: Last Fantasy VI, Disc 2 is, no doubt, the opera. I used to be curious to see what Sean would do with this thrilling portion of the traditional OST. Would there be performing vocalists? Would we get synth-sampled equivalents, possibly even Vocaloid software program? There have been a lot of instructions he might have taken. And, if I’m not mistaken, I believe we get a controversial selection. Although, in comparison with what Uematsu did with these tracks in 1994, maybe it’s a becoming strategy.
I’m fairly positive these are AI-generated vocals (utilizing Suno).
Nonetheless, they’re carried out in a means that they’re not life-like. In the identical means that the Tremendous Famicom authentic appeared like a bizarre mixture of phonemes and one thing vaguely human in its voice, there may be an “uncanny valley” strategy right here, particularly in Draco’s voice within the “Overture.” Proper from the beginning after we hear the road “O, Maria!”, although it’s not fairly as synthetic as Vocaloid software program, it’s clear this isn’t a dwell recording of a human voice.
My suspicion is that Schafianski was making an attempt to recreate the digitized, synthetic sound of the voice, however placing it in scope with the remainder of the Remastered instrumentation. I believe it really works effectively for Draco’s voice, however it will get a bit of trickier with Maria’s voice in “Aria di Mezzo Carattere.” This voice sounds extra dulcet, and albeit, extra actual. It is just within the too-perfect enunciation of vowel and consonant that I discover myself saying, “there’s the giveaway.” And, once more, that kind of inflexible enunciation suits with the rigidity of the Tremendous Famicom authentic. So, in a means, I can’t assist however assume this can be a becoming improve.
The rest of the opera sequence is essentially instrumental, and it’s mainly a symphony orchestra that Schafianski has to emulate right here. I believe the up-tempo “Grand Finale” got here out nice, with the mid-range horns sounding higher than I might have imagined. As for “The Marriage ceremony Waltz ~Duel,” I’m right here for the Duel. This can be a nice symphonic battle observe. As for the waltz? I believe that is the weakest a part of Uematsu’s supply materials, so whereas I wasn’t impressed, that isn’t one thing I can’t maintain towards Sean. It’s a serviceable improve.
Having mentioned the opera tracks, let’s take a look at some character themes! There are many character themes on Disc 2! Working in reverse order, we’ve “Relm.” I’ve to say, I used to be a tad dissatisfied right here. I do know Schafianski can kill it with woodwinds, particularly when he makes use of his EWI. The efficiency of the melody right here was, frankly, a bit lackluster. Additionally, the half that I’m used to listening to as a bagpipe on preparations like Last Fantasy VI Grand Finale is dealt with by a fiddle right here. It’s folksy, positive, however it’s lacking that Scottish highlands vibe, and that makes me unhappy.
Each “Strago” and “Mog” are curious items of music, and that curiosity is dealt with effectively with Schafianski emphasizing the esoteric notes within the uncommon scales discovered on every observe: modal scales, diminished and augmented variations, and so forth. The instrumentation is equally wacky, with some synth leads and pads accompanied by catchy percussion and rhythm guitar.
Each the character theme “Setzer” and his related airship theme “Blackjack” are full of life, jaunty items, and the string ensemble synths get the job carried out right here. Tracks like these are the sort that showcase the perfect Schafianski is taking pictures for: the synth OSTs, upgraded to what music studios can do today with software program alone (however once more, there are nice woodwind performances right here). I believe the chocobo music “Techno de Chocobo” additionally showcases the synth improve properly. We don’t lose the goofy soundscape in any respect, however it doesn’t sound fairly as grating.
If there may be one place the place I believe the Remastered strategy results in an improve that I can, with out query, choose over Uematsu’s SFC authentic, it’s the remaining observe. “One other World of Beasts” is such a superbly eerie observe, and the trade-off between piano and flute with all that ethereal stuff within the background? That is the place Schafianski shines. This can be a improbable elevation of an already improbable piece of music.
Two discs in, and Sean Schafianski has written a fairly swell musical love letter to Last Fantasy VI so far! Will he have what it takes to complete it out with “Dancing Mad” and different traditional tracks on Disc 3? We will see!
