Editor’s notice: this album is the 2024 up to date model of the Joypad Information launch Last Fantasy VI Remastered Soundtrack: Disc One, initially launched in 2013. Arranger Sean Schafianski accomplished his three-disc remaster undertaking between 2024 and 2025, together with this upgraded model of that 2013 Remaster undertaking, which encompassed solely the primary of three discs.
So, in 11 years’ time, what modified on this assortment of Last Fantasy VI audio? For one, it’s a extra spectacular, holistic listening expertise. Finest as I can perceive it, Schafianski utilized his 2013 Remaster audio as a baseline, updating a number of the sound banks with improved variations, and toying with the preparations to offer a little bit extra life. Granted, Schafianski not often goes wild with the preparations right here, because the audio is supposed to be a real “Remastered” method—sustaining authentic construction, with enhancements targeted on the audio high quality.
I noticed this devoted association method straight away with the opening “Omen.” The crashing lightning strike is extra life-like than its 16-bit counterpart, and the mixed choir and organ sound nearer to the actual factor. The rumbling thunder continues via the piano solo transition till we arrive on the darkish, brooding string ensemble. That is the half the place the participant is launched to the historical past of the Espers, magic, and now the Gestahl Empire and Magitek.
After that? It’s our first style of the Terra motif, within the well-known scene of the three Magitek armors marching via the snow. All the pieces on this opening observe matches with the 16-bit OST counterpart, much more faithfully than within the Last Fantasy VI Pixel Remaster.
Different enhancements are small, however pretty. The snaps and ambient air/breath noise in “The Mines of Narshe” sound good. The organ lead in “The Decisive Battle” is top-notch. And the layers of strings in “The Serpent Trench”—I’ve died and gone to heaven. It sounds so good.
Now, I do know I mentioned Schafianski doesn’t finagle with the unique music an excessive amount of. I feel there may be one notable exception. Being a woodwind grasp himself, particularly with saxophone, there are occasions he lets his expertise shine. The flutes on “Awakening,” “Cayenne” (that’s “Cyan” for the old-school localization followers), “Mystic Forest,” and “Youngsters Run By means of the Metropolis” all have little prospers that counsel a dwell recording, versus working via an audio sequencer. Amongst these tracks, I feel “The Mystic Forest” benefited most from Schafianski’s experience. Granted, the supply materials right here is considered one of my favorites from Nobuo Uematsu, so I could also be exhibiting my bias.
Earlier than wrapping up, I do suppose it’s price discussing one thing Schafianski disclosed once we interviewed him for episode 164 of Rhythm Encounter. For this undertaking, in addition to another latest tasks, Schafianski acknowledged utilizing the AI-based music device Suno. Whereas I feel the device’s presence has been each sparse and even handed—serving to to fill out the rock tracks with respectable drums based mostly on rhythmic patterns enter on a keyboard appears to be its key use—I’m additionally conscious of arguments absolutely towards using any AI device. For music, this appears particularly noteworthy, because it seems these instruments had been skilled on hundreds of thousands of songs that had been protected by copyright.
This can be a sophisticated topic, and I acknowledge the problem. I additionally assert that Schafianski will not be “phoning in” these Remastered preparations via using these instruments. Reasonably, he’s getting by as a one-man band when he doesn’t have the monetary assets to run his personal full studio with session musicians and dozens of devices.
Moreover, I can not assist however surprise what different composers and arrangers are additionally using Suno or different AI-assist instruments for his or her work with out disclosing it to their listeners. I think it will turn out to be a extra salient problem within the coming years, and as listeners and customers, we’re all going to have to return to phrases with the pattern and decide the way it could have an effect on our listening and buying habits.
On the finish of the day, I can’t assist however love these preparations for what they aspire to be: a contemporary tackle basic, 16-bit materials. As as to whether Schafianski’s Last Fantasy VI Remastered undertaking holds up throughout the remaining two discs, that’s a dialogue for an additional day and one other overview.
