*goes and says it to every other channel like shepherd did with the stores* 😂

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 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

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….

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!

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.