After the Sequel OST

Sanic

Studying Music

Great beats

Vibe

Sonic After the Sequel

ATS OST

B/A ts

sonic after the sequel

Recently, I was approached to remix a track by Modern American Theatre. They're an LA based indie rock band and friends of mine. You might have heard of them, and if you haven't yet, I strongly recommend checking them out.. they sound really good.

The track I chose to remix is Berlin Reunited: And It Feels So Good. Originally 175 bpm (or 87.5 however you look at it), filled with distortion guitar, fast-paced drums and high energy, it's been dramatically altered in virtually every way. You could say it's been given the 'Funk Fiction' or the 'PJ Funky House' treatment. Vocals have been time stretched down to classic 127 bpm, enter some Fender Rhodes, swingin' hats, housy rhythms, jazzy chords, funky analog synth glisses, filters, strings, vocal chopping/sampling, and groovin' basslines... now you have the Funk Fiction Mix of Berlin.

Berlin Reunited: And It Feels So Good (Funk Fiction Remix)

DJMAX TECHNIKA3 Original Sound Track.
Tchaikovsky - The Swan Lake의 Remix 입니다

Guitar Feat. Seibin 
(2011.04)

TAK - Black Swan [DJMAX TECHNIKA 3]

FS-471 Wwise Interactive Music implementation assignment.
update: Video of implementation here- http://www.youtube.com/watch?v=TjtXrKpW7G4&hd=1
remix version: http://soundcloud.com/falk-2/be-wild

Credits:
Sean Folk - Piano
Nikhil Hogan - Acoustic Guitar
Ethan Lee - Guitar Solo (SECRETS LOL)

THE BAND!!!
Guitars - Fake Falk
Bass - Fake Falk
Drums - Fake Falk (yeah you get the idea)

When thinking of what game to score for my Wwise interactive music assignment, I had the bright idea a few months ago to try to do a Sonic the Hedgehog level. Firstly, because it was a no brainer, but secondly - Japanese games have had a cultural precedent of barely touching interactive scoring compared to western titles. On the flip-side, this allows the composer to do what he does best, which is create memorable melodies and hooks you can hum along to that aren't limited by the 'loose' requirements that interactive scoring demands.

While the goal of 'interactivity' and 'memorability' seem to pull in opposite directions, Sonic levels are (for better or worse) on rails, and more importantly at points they funnel you through one-way sections, meaning that I could apply a basic song form concept, assigning each part of a song to each part of a level, making sure the sections can loop around seamlessly, and then writing appropriate transitionary sections that can be jumped to from the end of each phrase within a section.

I chose Spagonia as my level, and there are many tie-ins of the composition to the level. For instance, while the violin lead parts were a feature of the original track, I maintained that as a means of tying the track to the European vibe of the level.

Since musical sync to the level is the essence of this project, one of the transition segments is the clock tower climb and subsequent grind (which conveniently enough is one-way) and is characterized by the breakdown section and guitar solo.

There's also a whole bunch of little musical cameos that connoisseurs of fans of Sonic music throughout the past 20 years -should- be able to pick up on (I hope!) be it from the 16-bit games, Sonic Adventure, hell even Sonic X anime.

This is only Stage 1 of the assignment. There's a shit ton of other stuff I still need to do before the project is deemed complete, and no, I'm not talking about implementing it in Wwise. Stay tuned!



Be Cool

FS-471 Wwise Interactive Music implementation assignment, Part 2
update: Video of implementation here- http://www.youtube.com/watch?v=TjtXrKpW7G4&hd=1
rock version: http://soundcloud.com/falk-2/be-cool

Credits:
Sean Folk - Piano
Nikhil Hogan - Acoustic Guitar
Ethan Lee - Guitar Solo (SECRETS LOL)

THE BAND!!!
Guitars - Fake Falk
Bass - Fake Falk
Drums - Fake Falk (yeah you get the idea)

Part 2 of the assignment. So the secret is, aside from having parts sync to points in the level, there are 3 genres corresponding to how well Sonic is doing. This is when Sonic is tearing up the level, wherease a 3rd iteration, "Be Groovy" will correspond to when Sonic screws up/gets hit/etc.

I've spent since literally the start of the year coming up with the concept of tying interactivity to how well Sonic is performing. Imagine to my amazement when the Sonic Generations demo came out, and the exact same thing was being done by Sonic Team (listen to Modern Green hill playthroughs - when Sonic boosts, the drums go double-time)

I think I was pretty elated and disappointed at the same time. Elated in the sense that great minds think alike, and disappointed that what I'd intended to be an original concept has been 'done already', even though the game releases today. Oh well. Live and Learn.

Be Wild

Michelle - I Don't Need your Love (TAK Remix)
Remix by TAK
Piano & EP - 최홍범 

시간에 촉박해서 완성도는 아쉽지만 홍범쨩의 퍄노를 만끽하며 씐나게 들어주세요.

2011.12.19 Release

Michelle - I Don't Need your Love (TAK Remix)

http://www.youtube.com/watch?v=rDXldDOlllM

Music for the second Zone of this awesome fangame. It's out and you can play it now*; we're making a 2012 special edition with an original score for SAGE 2012.

This is the first Tails stage, and the "Green _______" trope zone. The music is homage to Richard Jacques and his amazing work with 3D Blast Saturn which I feel helped define the game more than the original Genesis soundtrack. I definitely had a lot of fun working on this one.

*http://www.sonicfangameshq.com/forum/showthread.php?t=7437

In Your Eyes - For Star Shores Act 1

On the Hero's Trail - For Star Shores Act 2

http://www.youtube.com/watch?v=92s47PQNw8Y

Act 3 of the first Zone of this awesome fangame. It's out and you can play it now*; we're making a 2012 special edition with an original score for SAGE 2012.

If Rivulets (Act 1 music) was characteristic of Before the Sequel as a whole, and Downpour (Act 2 music) built on it, this track would be a step towards building expectations for the OST in general. I wanted to, early on, expose players to the full range of genres that could be represented in the soundtrack and dissuade any preconceptions on what a 'retro'-style game had to sound like. Sonic CD was 1992 and its two OSTs fit so well with the game despite it being 224p 16-bit fare.

This was an interesting track to work with. I discovered halfway through working with Act 2's music that the rap I was working with actually mentioned "Rainbows" and "Prisms"- a fact that I didn't know when I was just using its chorus "Feel the Beat" section for Act 1. It worked alongside the orchestral-ish rendition perfectly for Act 3's lighter mood. Kinda funny how things turn out.. ;p Despite the rain being gone, I still get a very chilly vibe from the overall zone coloration (nevermind that it's really Hilltop Zone tiles in the foreground). Hopefully the music conveys that well.

I also threw in Green Hill again like I did with Act 2, except as a feature rather than a hidden easter egg. Musical quotes from Sonic music is going to be another staple for this OST, as it really is my homage to the franchise in general.

* http://www.sonicfangameshq.com/forum/showthread.php?t=7437

Prismatic - For Hilltop Heights Act 3

Dave/Blitz Lunar recently created a soundfont using the instruments from Bomberman 64, my favorite childhood game - and I wrote a song with it! These sounds make me ridiculously nostalgic and happy.

Huge thanks to Dave for creating the soundfont, and Surasshu for ripping the sounds in the first place! You can download this soundfont on Dave's website: http://iridescentaudio.co.uk

The original Bomberman 64 soundtrack is by Akifumi Tada - I'm so very grateful to him, as well.

Hello Moon

Jazzy interpretation of "The Tale of the Kalendar Prince" by Rimsky-Korsakov, for the game 1931: Schenerazade a the Library of Pergamum.

http://scheherazadegame.com

The Jazzy Prince (Rimsky-Korsakov Cover)

DJMAX RAY Original Sound Track

Evolution

Compsed & Arranged by TAK
Electric Guitar - 최동현 (of Band Dark Ambition)

7사자 미안해요...

DJMAX RAY (iOS Game)
(US) http://t.co/WDdXzwCo
(JP)  http://t.co/UQoiXjtF
(KR) http://t.co/XdqotrRy

PLAY GAME

TAK - SINister Evolution [DJMAX RAY]

That classic metro feel. Except not quite 'classic'.

Tea With Ellie - For Cyan City Act 1

Composition, piano: Aivi Tran
Chiptune: surasshu
Cello: Michael Evans

★ Note: This is only a preview, NOT the final version that will be in the game. ★

Cryamore - Daybreak at Ghilcrest (feat. surasshu, Michael Evans)

Taken from the Jamiroquai album, Rock Dust Light Star

White Knuckle Ride

Chillax sex music.

Written for Tecnology Tree Act 2 of Sonic ATS.

Bandcamp

Stellar Lights

M U T E (Spika's Theme Song)

한 순간이라도 날 잊은건 아니라면서 계속 멀어졌죠
그러려니 하고 보낸 메세지 오늘도
"읽지않음" 이라며

하루하루가 또 흘러가네요
똑같은 날들이 다시 돌아오죠

"미안, 오빠 바빠. 내일 다시 해"
어색한 인사 겉도는 얘기
헤어지자 말할 필요도 없이 떠나버린 마음은

아무렇지 않아요 더는 닿을 수 없는 손으로
꼭 붙잡아 본다고 변하지 않는다는 걸
서로 알고 있잖아요

들리지 않아 그저 멈추어 있는 세상 같아
이렇게 나를 대신 해서 울어주는걸

미안하지 않아 어차피 언젠가는 꺼져버릴 거란걸
기계인걸… 따스하지 않은걸
두 번 다시 쥘 것이 아니잖아...

Sung by Sanch (http://twitter.com/sanch0628)
Composed & Lyrics by  ESTi (http://twitter.com/esti_)
Arranged by TAK (http://twitter.com/wontak_)
Guitar Played by NieN (http://twitter.com/nien_1074)


KR - http://pangya.gametree.co.kr
JP - http://pangya.jp

ESTi x TAK -  MUTE (feat. Sanch) [Pangya Season Challenges!]

Retro 90s Trip Hop.

Written for Technology Tree Act 3 of Sonic ATS.

Freefall

Props if you can remember where the quote is from without googling.

(All cutscene music names are video game quotes because I'm a marketing genius)

CUTSCENE - But Dropping a Warship On Me is Cheating

Memories - For Horizon Heights Act 3

This is the finished version of Sugar Splash Zone Act 2 for LakeFeperd's fangame Sonic After the Sequel. This song was a collaborative effort. Credit goes to Falk for added instrumentation and rearrangement.

Carbohydration - Sugar Splash Zone Act 2 (Feat. Falk)

Fusion in more ways than one. It's actually a fusion of Neon Paradise and Combat Night!

The climb up Parhelion Peak is (almost) over. Take a moment to feel the breeze. And then realize it's a bad idea because the breeze is chilling.

Featuring Andre Vasconcelos (E.Gt) and Evan Waaramaa (Keys) of Crosswalk Anarchy

Scorching Subzero - For Parhelion Peak Act 3

Fly through.

Written for Foliage Furnace Boss of Sonic ATS.

Radiance

Sugar Splash Zone's special act. This is a 16-bit rendition of acts 1 and 2, and is also an expansion of the original version.

For LakeFeperd's fangame Sonic After the Sequel.

Sugar Splash Zone - Special Act

Pomp and Circumstance

Featuring Falk on drums, arps and wuyyuyuuyuyoyooyoyoyoyuyuyuyuyyyoyy.

Based on Mr. Lange's Foliage Furnace Act 1

Mantra - For Foliage Furnace Act 3

Foliage Furnace Act 1, for LakeFeperd's fangame Sonic After the Sequel. This song was a collaborative effort. Credit goes to Falk and Andy for added instrumentation and rearrangement.

Turquoise Paradise - Foliage Furnace Zone Act 1 (Feat. Falk, Andy Tunstall)

Intro music.

ATS Intro: "A Matter of Pomp"
BTS Intro: "Circumstance"

Remix/Mashup: Pomp and Circumstance

I'M A GENIUS THANKS FOR PLAYING

Special thanks to Andre and KgZ.

A Matter of Pomp

Dark Funk. Light Dreams.

Violin performed by Bianca McClure.
http://www.bebesmusic.com/about-me

Written for Storm Station Act 3 of Sonic ATS.

Red Moon

ATS Prologue. Inspired by SebastiAn's "Embody".

Prologue

Falk is a home-grown musician with a skillset just about as diverse as his interests. Hailing from Malaysia, he jumped with both feet into audio for games right out of college and spent a few years as Audio Lead at a rhythm game publisher. After having travelled to Boston to attend the prestigious Berklee College of Music, Falk has been involved in countless fan productions and remixes, original compositions, arrangements, and orchestrations.

Falk, through his affiliation with the Video Game Orchestra, has had the privilege to work in the presence of industry veterans such as Hitoshi Sakimoto of Basiscape, Masashi Hamauzu, and Go Shiina of Namco Bandai, amongst others, in the capacity of recording and mix engineer for their various projects in ensembles varying from simple instrumental overdubs to full orchestral/choir recordings.