After a few more listens, I have a couple constructive criticisms in case you ever make a version 2: 1. The high note at 2:55 is one of the most emotional parts of the original (unless I'm just thinking of the hybrid mix with the live performance), and it could benefit from more emphasis here, or in a 3:22 reprise. 2. The climax starting at 3:38 is largely missing the unique notes that appear in the original. Those are actually two of my favorite parts in the original, which this piece could benefit from milking instead of deemphasizing. That said, I didn't notice so much on the first few listens, because you improved so much of the rest of the piece.
@@trogglepope9792 Thanks so much for the detailed feedback! It's honestly awesome to see someone deconstruct the track and be super honest about what they like and don't like. It's cool to see the compositional choices I made under the microscope! For your first piece of feedback at 2:55, I decided to keep the main melody sustained with the French horns whilst introducing the additional notes with a small trombone section, almost like a call and response phrase. This is quite different to the original, where the trumpets play the original melody and the French horns take the extra notes. In the original, the French horns are much louder than the trombones in my version. It's great to hear your feedback here; I obviously listened to Suicide Mission hundreds of times in a very short period of time whilst writing this cover, and in doing so it's very easy to lose sight of the short, specific parts of the piece that make it extra special. I'll definitely be paying extra attention to details like this in future covers! Regarding your thoughts on the climax being different than the original, that was actually very intentional - for better or for worse. This is an 'epic' trailer music cover, meaning that I'm taking the notes of the original Suicide Mission composition, and combining it with orchestration and production techniques of modern trailer music. That's why my cover is significantly faster than the original, and why I've changed the structure a bit. It's extremely rare for modern trailer music to introduce what is virtually a brand new melody at the very end of a track. Instead, I decided to take some artistic liberty (which one must be very careful with when writing a cover, as you've aptly pointed out!). At 3:38, the brass theme repeats the theme introduced at 0:27 (which may be a reference to another very similar piece of music from a different piece of science fiction pop culture - any guesses?). Meanwhile, the choir takes up the spiccato string motif introduced at 1:30 (which starts in the original Suicide Mission in a similar place, but the choir doesn't sing it later). The strings tease this motif a couple of moments before the choir pick it up. Then at 3:52, I decided to end the piece with the full orchestral brass section playing the main Mass Effect theme in all its glory, whilst at 3:58 the choir and strings take up the original spiccato string motif from 0:14 (which is introduced about a minute into the original Suicide Mission as a slow fade). I chose this because I think that these two elements - the Mass Effect theme played by the French horns, and the original string motif played with the high strings - are the two core elements that define the piece the best, so I wanted to end with them both playing together in as grand a fashion as possible. I'm not saying I made the choice for the better, I'm simply explaining my thought process. You raise an excellent point in that the original end of Suicide Mission was particularly iconic. Maybe I should have been more loyal to the original! Thanks again for your comments, I thoroughly enjoyed reading them! PS: As you probably recognised, from 1:52 to 2:37, I took a lot of artistic liberty. I actually introduced some strong elements from another Mass Effect track in a type of medley, particularly from 2:15. Any idea what that track is? (Hint: it's from Mass Effect 3.)
"I am the Doctor", "Leaving Earth" and "An End Once and for All" are a few that I noticed the nods to, brilliant piece, would love to see you cover some more Mass Effect tracks!
Thank you! I actually love The Fleets Arrive haha, I think Sam Hulick did a great job on it. When I first played Mass Effect 3 I kept stopping and loading to rewatch that moment when the fleets come out of the relay again and again. I even did an original score to that scene for an assignment at university haha. I'd love to do a cover of it!
This is legitimately the best cover of the suicide mission theme there is. All the other covers are just metal, bland orchestral, or bland synthetic sounding and lacking any real soul behind it but this manages to be an absolutely beautiful orchestral cover that adds onto and improves on what the original, while amazing in it’s own right, was lacking. This is the cover I’ve been waiting ten years for and I can’t help but thank you for making it
Collector gains his awareness, confused where it is and what’s going on… glances to it’s left and sees a huge fireball racing towards it. While thinking.. Why….
@@who7th Ooh good choice, I love that theme! Actually, I think Inon Zur did a great job on both Origins and DA:2. I remember sitting on the main menu on both of them just to let the music play haha.
@@samgarrone4048 I hope that DA:4's main theme is more "dark fantasy", since I like Origins' overall style more, I was a bit let down by Inquisition on that department (even though its OST is great as well).
@@who7th I agree! Although Trevor Morris' score for Inquisition was very well produced, it felt extremely cookie-cutter, straight out of Lord of the Rings. That doesn't mean it's bad, but it does mean it sounds very 'same-y'. Personally, I don't mind that style; trailer music also strongly relies on reused stereotypes (like 'braams' and epic quick string ostinatos), and yet I thoroughly enjoy it. However, I do think that Inon Zur's score for Origins and DA:2 was far more original, creative, and more interesting to listen to. And indeed, you raise a good point about sub-genre. Inon Zur's score felt a lot more fitting to the Dragon Age universe than the stereotypical high fantasy score that Trevor Morris and his team delivered. One great thing about Inquisition's score that's difficult to ignore is its high production value. A score can be bad and well produced at the same time; a score consists of musical notes, whilst the production value is the quality of the recording, mixing and mastering. If a score is well produced, it sounds extremely well balanced, the instruments sound exactly where they should and occupy their own space in the mix, they blend well with one another and sound rich and detailed, and the music translates well across different audio systems. Production value is totally different to whether a score is good or original. Inquisition's score is extremely well produced. Live recorded strings, brass and choir with programmed percussion, mixed to extremely high standards for a 2014 video game, that sound real, rich and perfectly balanced. It's especially notable because most previous Bioware titles, such as Mass Effect 1, 2 and 3, had relatively poorly produced scores, with very obvious mixing and programming mistakes (even though the score itself was amazing in all three). You can tell the audio budget for Inquisition was a lot higher than in any previous Bioware title, and it shows in the quality of the recording, mix and master.
Когда я слышу этот саундтрек я произвольно вспоминаю вопль стрельбы из винтовки "Призрак". Какая же боль была когда в 3ей части у "Призрака" убрали звуки агонии грешников.
cant await to replay the suicide mission again, there are many good games out there, but the mass effect series was something special, after completing mass effect 3 i felt empty yet relifed for a while, sadly bioware is no more what it once was, they had some quite good games.
Incredible, my friend. Jack Wall's version is one of my favorite tracks in all three games, but you really gave it a powerful new spin. Thank you for sharing
every time i hear this track i get so confused how two compleatly different projects, with two compleatly different composers for the music, came to such a simaler result, WHY DOES IT SOUND SO MUCH LIKE I AM THE DOCTOR, not specifically this version, the original aswell, they only released 4 months apart so i dont think either of them ripped off the other, its just a fun thing
Commander Sheppard First Human Spectre Hero Of The Citadel Conqueror Of The Collectors Cuerer Of The Genophage Savior of Ranock Hero Of The Citadel Again Vanquisher Of Cerberus Bane Of The Reapers Damn Shepard has a lot of titles
I know this was months ago, but you TRULY have a gift. If I were you, I'd offer my skills for money and do musical arrangement commissions...unless you've already been doing that, in which case ignore me.
Sam Garrone 183 subscribers "Human, you've changed nothing. Your species has the attention of those infinitely your greater. That which you know as Reapers are your salvation through destruction." ~ Harbinger to Commander Shepard as he both successfully escapes the Collectors' base, as it blows.
Dear Sam, your interpretation is simply magnifique. I could listen to this in an 10 hour loop, it is even better than a good red wine with fine cheeses. Just by listening I get a temporary buff to most of my real life skills ;) Is there any way I could buy a mp3 copy from you? Cheers!
The Legendary Bioware of 1998 - 2008 Thank you for the amazing adventures and great childhood ❤😭 R.I.P. Bioware & Obsidian, titans of the industry. LEGENDS NEVER DIE Baldur's Gate 3 with it's weak writing is a mediocre CRPG, this is how low the standards for games are nowadays brothers.
I'm Commander Shepard and this is my favorite cover on youtube
*goes and says it to every other channel like shepherd did with the stores* 😂
Best game trilogy by far
Wow this is incredible! When the choir came in, I realized how great the addition was. I love this!
Shepard earned his place in the world of video games as one of the immovable legends for all of us, he is a legend and this music only reaffirms that
Because he is based on Jesus
Damn, this is SO good. This might be the best rendition out there. I can't stop listening to it.
After a few more listens, I have a couple constructive criticisms in case you ever make a version 2:
1. The high note at 2:55 is one of the most emotional parts of the original (unless I'm just thinking of the hybrid mix with the live performance), and it could benefit from more emphasis here, or in a 3:22 reprise.
2. The climax starting at 3:38 is largely missing the unique notes that appear in the original.
Those are actually two of my favorite parts in the original, which this piece could benefit from milking instead of deemphasizing. That said, I didn't notice so much on the first few listens, because you improved so much of the rest of the piece.
@@trogglepope9792 Thanks so much for the detailed feedback! It's honestly awesome to see someone deconstruct the track and be super honest about what they like and don't like. It's cool to see the compositional choices I made under the microscope!
For your first piece of feedback at 2:55, I decided to keep the main melody sustained with the French horns whilst introducing the additional notes with a small trombone section, almost like a call and response phrase. This is quite different to the original, where the trumpets play the original melody and the French horns take the extra notes. In the original, the French horns are much louder than the trombones in my version. It's great to hear your feedback here; I obviously listened to Suicide Mission hundreds of times in a very short period of time whilst writing this cover, and in doing so it's very easy to lose sight of the short, specific parts of the piece that make it extra special. I'll definitely be paying extra attention to details like this in future covers!
Regarding your thoughts on the climax being different than the original, that was actually very intentional - for better or for worse. This is an 'epic' trailer music cover, meaning that I'm taking the notes of the original Suicide Mission composition, and combining it with orchestration and production techniques of modern trailer music. That's why my cover is significantly faster than the original, and why I've changed the structure a bit. It's extremely rare for modern trailer music to introduce what is virtually a brand new melody at the very end of a track. Instead, I decided to take some artistic liberty (which one must be very careful with when writing a cover, as you've aptly pointed out!).
At 3:38, the brass theme repeats the theme introduced at 0:27 (which may be a reference to another very similar piece of music from a different piece of science fiction pop culture - any guesses?). Meanwhile, the choir takes up the spiccato string motif introduced at 1:30 (which starts in the original Suicide Mission in a similar place, but the choir doesn't sing it later). The strings tease this motif a couple of moments before the choir pick it up. Then at 3:52, I decided to end the piece with the full orchestral brass section playing the main Mass Effect theme in all its glory, whilst at 3:58 the choir and strings take up the original spiccato string motif from 0:14 (which is introduced about a minute into the original Suicide Mission as a slow fade). I chose this because I think that these two elements - the Mass Effect theme played by the French horns, and the original string motif played with the high strings - are the two core elements that define the piece the best, so I wanted to end with them both playing together in as grand a fashion as possible.
I'm not saying I made the choice for the better, I'm simply explaining my thought process. You raise an excellent point in that the original end of Suicide Mission was particularly iconic. Maybe I should have been more loyal to the original!
Thanks again for your comments, I thoroughly enjoyed reading them!
PS: As you probably recognised, from 1:52 to 2:37, I took a lot of artistic liberty. I actually introduced some strong elements from another Mass Effect track in a type of medley, particularly from 2:15. Any idea what that track is? (Hint: it's from Mass Effect 3.)
You are so right. I spent literally already several HOURS listening this cover. I am not sure if its sad or interesting... :D
"I am the Doctor", "Leaving Earth" and "An End Once and for All" are a few that I noticed the nods to, brilliant piece, would love to see you cover some more Mass Effect tracks!
I am glad I am not the only who thought Suicide Mission sounded a bit like Matt’s theme from Doctor Who.
Same composer.
I thought I am the doctor was composed by Murray gold
same Timeline ...the music was created in "the same time period" @@muazo9916
Okay im glad I wasn’t just imagining that
Legendary we are!
Epic with all the meaning of the word.
It took me a over a decade, but I did it. Everyone lives!
Oh come on. Givem ea day like this. Just one.
This song is Reaperly amazing! Joker...tell them!
This is amazing...please make one of the fleets arrive :)
Thank you! I actually love The Fleets Arrive haha, I think Sam Hulick did a great job on it. When I first played Mass Effect 3 I kept stopping and loading to rewatch that moment when the fleets come out of the relay again and again. I even did an original score to that scene for an assignment at university haha. I'd love to do a cover of it!
@@samgarrone4048 You def should!
Best Military music
I salute 🫡
I AM THE SOVEREIGN OF YOUR DESTRUCTION….ASSUMING CONTROL
13 years ago when this kicked in my heart rate jumped!
Nice
Epic
I'm crying 😭
Thank you for this. ❤️🥺
This is legitimately the best cover of the suicide mission theme there is. All the other covers are just metal, bland orchestral, or bland synthetic sounding and lacking any real soul behind it but this manages to be an absolutely beautiful orchestral cover that adds onto and improves on what the original, while amazing in it’s own right, was lacking. This is the cover I’ve been waiting ten years for and I can’t help but thank you for making it
Harbinger: You have failed. We will find another way. [Harbinger is revealed to be a Reaper controlling the collector general] Releasing control!
Collector gains his awareness, confused where it is and what’s going on… glances to it’s left and sees a huge fireball racing towards it. While thinking.. Why….
bro, this slaps so hard! please, make more! 😭
Thanks so much! Do you have a favourite track that you'd like to see a cover of?
@@samgarrone4048 I'd love to see an epic cover of Dragon Age: Origin's main theme :)
@@who7th Ooh good choice, I love that theme! Actually, I think Inon Zur did a great job on both Origins and DA:2. I remember sitting on the main menu on both of them just to let the music play haha.
@@samgarrone4048 I hope that DA:4's main theme is more "dark fantasy", since I like Origins' overall style more, I was a bit let down by Inquisition on that department (even though its OST is great as well).
@@who7th I agree! Although Trevor Morris' score for Inquisition was very well produced, it felt extremely cookie-cutter, straight out of Lord of the Rings. That doesn't mean it's bad, but it does mean it sounds very 'same-y'. Personally, I don't mind that style; trailer music also strongly relies on reused stereotypes (like 'braams' and epic quick string ostinatos), and yet I thoroughly enjoy it. However, I do think that Inon Zur's score for Origins and DA:2 was far more original, creative, and more interesting to listen to. And indeed, you raise a good point about sub-genre. Inon Zur's score felt a lot more fitting to the Dragon Age universe than the stereotypical high fantasy score that Trevor Morris and his team delivered.
One great thing about Inquisition's score that's difficult to ignore is its high production value. A score can be bad and well produced at the same time; a score consists of musical notes, whilst the production value is the quality of the recording, mixing and mastering. If a score is well produced, it sounds extremely well balanced, the instruments sound exactly where they should and occupy their own space in the mix, they blend well with one another and sound rich and detailed, and the music translates well across different audio systems. Production value is totally different to whether a score is good or original.
Inquisition's score is extremely well produced. Live recorded strings, brass and choir with programmed percussion, mixed to extremely high standards for a 2014 video game, that sound real, rich and perfectly balanced. It's especially notable because most previous Bioware titles, such as Mass Effect 1, 2 and 3, had relatively poorly produced scores, with very obvious mixing and programming mistakes (even though the score itself was amazing in all three). You can tell the audio budget for Inquisition was a lot higher than in any previous Bioware title, and it shows in the quality of the recording, mix and master.
Когда я слышу этот саундтрек я произвольно вспоминаю вопль стрельбы из винтовки "Призрак".
Какая же боль была когда в 3ей части у "Призрака" убрали звуки агонии грешников.
Hello, I'm Commander Shepard. Basically. Run.
... I... I'm speechless...
nice.
This is epic as awesome!!😆 great job!😆👍
cant await to replay the suicide mission again, there are many good games out there, but the mass effect series was something special, after completing mass effect 3 i felt empty yet relifed for a while, sadly bioware is no more what it once was, they had some quite good games.
That was REALLY EPIC !!!
no song is EPIC enough... but each deserved a LIKE, in the end you all make the same thing... music for us the listeners. great job!
Really really great. As epic as the suicide mission at it self.
Omg goosebomps everywhere🔥
Best rendition ever!!!!
Broward did a masterpiece with the music of mass effect
Great✊
Gotta love chad vakarian
Incredible, my friend. Jack Wall's version is one of my favorite tracks in all three games, but you really gave it a powerful new spin. Thank you for sharing
This mix deserves more likes!
I separately love this and doctor who. I keep waiting for Matt Smith to show up everytime I hear this
Amazing ! I love this so much
every time i hear this track i get so confused how two compleatly different projects, with two compleatly different composers for the music, came to such a simaler result, WHY DOES IT SOUND SO MUCH LIKE I AM THE DOCTOR, not specifically this version, the original aswell, they only released 4 months apart so i dont think either of them ripped off the other, its just a fun thing
Not bad. I still hold that Jack's version is the *best* version, but this I can appreciate as well.
Where did you get the art?
@2:44 "I don't need a gun to handle you"
Commander Sheppard First Human Spectre Hero Of The Citadel Conqueror Of The Collectors Cuerer Of The Genophage Savior of Ranock Hero Of The Citadel Again Vanquisher Of Cerberus Bane Of The Reapers
Damn Shepard has a lot of titles
2:52 walking dead mass effect lol
I know this was months ago, but you TRULY have a gift. If I were you, I'd offer my skills for money and do musical arrangement commissions...unless you've already been doing that, in which case ignore me.
Oh fuck you’re gonna make me (play mass effect again)
Sam Garrone
183 subscribers "Human, you've changed nothing. Your species has the attention of those infinitely your greater. That which you know as Reapers are your salvation through destruction." ~ Harbinger to Commander Shepard as he both successfully escapes the Collectors' base, as it blows.
Dear Sam do you still have this song in your PC? Would it be possible to somehow discuss personalized version of it? :)💰
Why didn't bioware hire you to redo the soundtrack for the Mass Effect Legendary Edition? I'm playing this while I'm doing the last mission on ME2
Why does this sound like Doctor Who's Eleventh Doctor music?
They storm the Alien Auschwitz
Sounds great, but I wish there was some bass :(
Dear Sam, your interpretation is simply magnifique. I could listen to this in an 10 hour loop, it is even better than a good red wine with fine cheeses. Just by listening I get a temporary buff to most of my real life skills ;) Is there any way I could buy a mp3 copy from you? Cheers!
Gonna stash this away for when I become a billionaire and single handedly bank roll the Mass Effect series on HBO Max ;)
Woah... dude, this was absolutely phenomenal. 😭
What sort of music software program did you use, if any?
The Legendary Bioware of 1998 - 2008
Thank you for the amazing adventures and great childhood ❤😭
R.I.P. Bioware & Obsidian, titans of the industry.
LEGENDS NEVER DIE
Baldur's Gate 3 with it's weak writing is a mediocre CRPG, this is how low the standards for games are nowadays brothers.
What software did you use to do this? My goodness this is good.