Update: 19Dec04

[Tom]

After working on the CODE-NAME: ICEMAN soundtrack, I really wanted to do something with one of the songs in that soundtrack that seems to have grown on me quite a bit:  "Flight To Washington", or if you prefer, "Leaving Tahiti".  Whatever, I'm just calling it "Washington" for this arrangement.  I wonder if I should call it an arrangement, or an enhancement, since it uses the same chord progression as the original theme.

The first eight bars are practically the same as Seibert's MT-32 score; just an added track of Polysynth panned opposite of the original, and the bass notes were seperated out of the synth track to play on their own as a Fingered Bass track.  A little re-working of the percussion as well.  Other than that, it's basically the same up until the ninth measure where all of Seiberts instruments are replaced, and a Sax and Electric Guitar provide leads.  The Polysynth is replaced with keyboards, electric guitars, a variety of horns, and strings, and played slightly different.  Of course, the percussion track is all new as well.  (That was actually kind of tricky to work out, but a lot of fun.  I think the song really benefits from a strong beat.)

I used the Audigy to record this and I think I finally have it working well for recording without ARVL.  If you look at the waveform, you'll see it looks like no ARVL was involved in the recording....lots of variations in volume levels with no 'flatlining'.  :-)

I could have just kept going and going with this 'rearrangement' -- so many variations would work -- but I want to spend today working on the QFG1 digital soundtrack.

CNI-WASHINGTON

[HondaSiR]

I've listened to it, and I like it, Tom. What formed in my mind while listening to the melody is this: A man is walking down a dimly lit alley late one evening, lost in thought and noticeably tired. He then comes upon a bar and immediately feels the need for a drink. He enters, finds a seat and orders for a vodka. He sees a woman across the room, also seated at a table all by herself. The woman eyes him back and smiles. He stands, walks towards the woman's table and asks if he could join her. She obliges with a smile. He sits down and they talk. They talk for a long time and they both smile often. After a while, they both get up and go to an undisclosed location, probably to continue their new and romantic relationship. The End.

I don't know how you do it, Tom. But whenever I hear your music (or enhancement/rearrangement in this case), my mind really wanders.  

[Tom]

Wow!  And I was only thinking about looking out an airplane window.     Maybe I should've let my mind wander to the stewardess.  

[Ari]

This is a great track, Tom! I really liked the electric guitar!
brilliant as usual!  :wink:

[Alistair]

Oh, fantastic. I haven't heard it yet (downloading this and Ari's SQ4GS6 OGG) but this piece is by FAR my favourite from the Iceman game. Meant to play with it and go beyond Tom's special CD version myself!

I was at the beach last week on holiday, and listened to the whole Iceman CD, and was singing to the 'Flight' theme. So much emotion!!
And the CD.. again, wowie.
I assume this is the flight theme, and not Washington, which is actually a different piece.

I seriously look forward for my slow dialup connection to get this.

- Alistair

[Alistair]

Heard it now.. amazing stuff. Again, this is definitely my favourite Iceman theme, and now my favourite QuestStudios version of an Iceman track. Even beats the Mountain Chase track.

When I'm 'under the knife' tomorrow.. I'll definitely be thinking of this piece.. thank you Tom.

- Alistair

[Tom]

Meant to play with it and go beyond Tom's special CD version myself!

Why don't you do an arrangement, and we can hear how the MU100 sounds, too.  Mine is just one of any number of 'enhancements' that can be done with this song.  It's a nice, smooth progression to work with, too.

[Alistair]

Why don't you do an arrangement, and we can hear how the MU100 sounds, too. Mine is just one of any number of 'enhancements' that can be done with this song. It's a nice, smooth progression to work with, too.

If you wanted to really make my day now that I'm home, you could email me EVERY MIDI of 'Flight' that you have. MT original, converted SC one, one for the soundtrack CD, the rearrangement one and any others. I'd really appreciate that.

If I could make a complaint, and this is being pretty stiff on my part- I prefer the original MT-32 beginning to the piece. I dislike that polysynth addition, and feel emotion is drained from the track through its' use.

Other than that, it's a pleasure to listen to. The best track you've done all of 2004, Tom. (That I've heard, anyway! QFG2VGA will be special.)

- Alistair

[Tom]

I prefer the original MT-32 beginning to the piece. I dislike that polysynth addition, and feel emotion is drained from the track through its' use.

It's actually a polysynth variation, and I chose it because it pretty well matched the same sound being used by Seibert on the MT-32.  I wanted to use two tracks (with basically the same sound on each) so I could pan them opposite ... making it sound a bit fuller, though not louder.  I decreased the volume on each so they'd better match the MT-32's output, strength-wise.  I don't understand how that would "drain the emotion". . . it's basically the same, just enhanced a bit with primarily the same type of sound.  Seibert's synth is not what I'd really consider, an 'emotional instrument'; not in the same category, at least, as a guitar, violin, or flute.

you could email me EVERY MIDI of 'Flight' that you have. MT original

I used CNI's MT-32 recording, which you can download from the Complete Soundtracks page (along with the GM version) to make your arrangement.  I don't have any other "versions."  I didn't keep a copy of the MIDI files I used to create the Digital soundtracks -- at least, I don't think I have them anymore; probably overwrote the files on a ZIP disk that Dianne and I pass between our computers.   I do have the MIDI from this 'Flight' arrangement, but I don't like to share all of my MIDI 'arrangement secrets', so that's not available.  

Besides, I'm looking forward to hearing how others would work with the existing tracks of this song.  I'm sure it can be done much better; I'm sure I can do better, myself, had I spent more time with it.  Now that you have an excellent selection of new sounds with the MU100, I'm really anxious to hear some of them -- especially while used in a song I'm familiar with.  Maybe you could bring back the "emotion" you feel I lost in my version?

[Alistair]

It's actually a polysynth variation, and I chose it because it pretty well matched the same sound being used by Seibert on the MT-32. I wanted to use two tracks (with basically the same sound on each) so I could pan them opposite ... making it sound a bit fuller, though not louder. I decreased the volume on each so they'd better match the MT-32's output, strength-wise. I don't understand how that would "drain the emotion". . . it's basically the same, just enhanced a bit with primarily the same type of sound. Seibert's synth is not what I'd really consider, an 'emotional instrument'; not in the same category, at least, as a guitar, violin, or flute.

I actually disagree. I think 'MTrak' used in this piece and the 'Iceman!' piece is quite emotional! I certainly think the poly variation seems too synthy and not smooth and emotional enough (I don't think it's that similar, well at least similar enough to be as good as MTrak either. But that's the harshest critique applicable to this piece). Just is the only minor rough edge in an otherwise smooth diamond.

I'm sure I can do better, myself, had I spent more time with it.

Given that less than 36 hours ago I was lying in a hospital bed thinking of this arrangement, it can't be that bad.. Don't get me wrong, I loved it.

- Alistair