Interview with Red Omen
Name: Ryan Walker
Songs: Hymn of Valor
Red Omen is a longtime member of the OCR forums and the remixing community, and often makes successful forays into the business.
1. When did you first play / why do you like Chrono Trigger?
Chrono Trigger was the first RPG I ever played, and the first video game soundtrack I ever fell in love with. I never owned an SNES, so three years ago a friend of mine loaned me ZSNES and a bunch of ROMs. When I first heard about OCR in July of 2002, the first game I looked for was Chrono Trigger. The first mix I downloaded was Blue Minded God by Zeratul. It is because of Chrono Trigger that I like RPGs, and it is because of Yasunori Mitsuda that I want to write music for video games when I grow up. Chrono Trigger changed my life.
2. What do you use to mix?
I use PrintMusic! 2000, a simple and obsolete Finale product. I'll be buying Finale 2005 soon before I go to college. After making the MIDI in PM!, I import it into the trial version of FruityLoops and apply soundfonts, then export as an MP3.
3. When did you first start remixing?
I was making very pedestrian arrangements of video game songs before I got to OCR, so I'll say for over three years. Back then, I didn't know about FruityLoops, so it was just MIDIs.
4. How do you plan to attack Guardia Castle?
I can't say. I have some ideas floating around in my head, but they aren't in any cohesive form that I can put into words. It'll be heroic, but that's all I can say for now.
5. What drew you to the project?
Claado Shou's sig. I loved the Super Metroid project and worked on the DKC project. With all these remixing projects, I really wanted there to be a CT one, what with it being one of my favorite soundtracks and all. I was elated to find that there was a slot open, especially for a song as accomodating to my style as Guardia Castle.
6. Any remixing plans after the project's done?
My love for Mitsuda's music is eclipsed by only two others: (i) Hitoshi Sakimoto and (ii) Miyoko Kobayashi (and Masanori Hikichi). The latter pair composed the soundtrack to Terranigma, my all-time favorite videogame OST. I've worked up Movements 0 and 1 to my Resurrection: Terranigma Symphonic Suite, which is available on my site under Music > Arrangements, but I have four more movements to do. I've been stalling because I plan to do The Confronted next, and that's really freaking hard. I've also got to fix up 'To Kryta'.
~7. How did Hymn of Valour turn out?
I'm pleased with it. Every piece I do seems to be better than the last, and Hymn was no exception. I owe a great deal to Compyfox, whose advice and attention to detail have not only allowed me to improve the production quality of this piece in particular, but will also help me in the future. Bear in mind that everything I know about composition and audio production up to this point has been almost entirely self-taught, but college is going to change that.
So yes, the final product sounds rather like I hoped it would. My most salient source of discontent lies in the ending, which has sort of a "HOLY CRAP I'M PAST DEADLINE" feel to it - which, I regret to say, was certainly the case at the time.
8. Plan to work in another project?
Oh, goodness, don't I. Depends on the game, naturally, but I've enjoyed working on both this and Kong in Concert. Terranigma? Ogre Battle? I'll be there foaming at the mouth faster than you can say "pinnacle of human achievement."
9. How's it feel being part of a Chrono OCR site project now that it's complete?
Delicious.
10. Anything you'd like to say to Chrono fans?
Does the ending theme make you want to cry when you hear it? You're not alone.
Wow... that was nerdier than that horrid pun I made about valence shells the other day.
Author Comments on Tracks
Hymn of Valor - I wanted the piece to convey the long, proud history of Guardia, as imposing as looking up at the massive castle on a hill. Since the knights are a crucial element of the story surrounding the castle, I also added sort of a militaristic feel with the snare drum. The softer, introspective section reflects Marle's independent nature conflicting with her father's autocratic sense of duty.