The middle child in Sean Schafianski‘s Remastered Soundtrack: Final Fantasy VI series, Disc 2 continues from where Disc 1 left off. Be sure to check out the linked review of Disc 1 for discussion about Sean’s general process for these Remasters. In this review, we’ll dive deeper into the musical content!
The heart of Remastered Soundtrack: Final Fantasy VI, Disc 2 is, without a doubt, the opera. I was curious to see what Sean would do with this exciting portion of the classic OST. Would there be performing vocalists? Would we get synth-sampled equivalents, maybe even Vocaloid software? There were a number of directions he could have taken. And, if I’m not mistaken, I think we get a controversial choice. Though, compared to what Uematsu did with these tracks in 1994, perhaps it is a fitting approach.
I’m pretty sure these are AI-generated vocals (using Suno).
However, they’re done in a way that they’re not life-like. In the same way that the Super Famicom original sounded like a weird mix of phonemes and something vaguely human in its voice, there is an “uncanny valley” approach here, especially in Draco’s voice in the “Overture.” Right from the start when we hear the line “O, Maria!”, though it’s not quite as artificial as Vocaloid software, it’s clear this is not a live recording of a human voice.
My suspicion is that Schafianski was trying to recreate the digitized, artificial sound of the voice, but putting it in scope with the rest of the Remastered instrumentation. I think it works well for Draco’s voice, but it gets a little trickier with Maria’s voice in “Aria di Mezzo Carattere.” This voice sounds more dulcet, and frankly, more real. It is only in the too-perfect enunciation of vowel and consonant that I find myself saying, “there’s the giveaway.” And, again, that sort of rigid enunciation fits with the rigidity of the Super Famicom original. So, in a way, I can’t help but think this is a fitting upgrade.
The remainder of the opera sequence is largely instrumental, and it’s basically a symphony orchestra that Schafianski has to emulate here. I think the up-tempo “Grand Finale” came out great, with the mid-range horns sounding better than I would have imagined. As for “The Wedding Waltz ~Duel,” I’m here for the Duel. This is a great symphonic battle track. As for the waltz? I think this is the weakest part of Uematsu’s source material, so while I wasn’t impressed, that isn’t something I can’t hold against Sean. It’s a serviceable upgrade.
Having discussed the opera tracks, let’s look at some character themes! There are plenty of character themes on Disc 2! Working in reverse order, we have “Relm.” I have to say, I was a tad disappointed here. I know Schafianski can kill it with woodwinds, especially when he uses his EWI. The performance of the melody here was, frankly, a bit lackluster. Also, the part that I’m used to hearing as a bagpipe on arrangements like Final Fantasy VI Grand Finale is handled by a fiddle here. It’s folksy, sure, but it’s missing that Scottish highlands vibe, and that makes me sad.
Both “Strago” and “Mog” are curious pieces of music, and that curiosity is handled well with Schafianski emphasizing the esoteric notes in the unusual scales found on each track: modal scales, diminished and augmented variations, etc. The instrumentation is equally wacky, with some synth leads and pads accompanied by catchy percussion and rhythm guitar.
Both the character theme “Setzer” and his associated airship theme “Blackjack” are lively, jaunty pieces, and the string ensemble synths get the job done here. Tracks like these are the kind that showcase the ideal Schafianski is shooting for: the synth OSTs, upgraded to what music studios can do these days with software alone (but again, there are great woodwind performances here). I think the chocobo music “Techno de Chocobo” also showcases the synth upgrade nicely. We don’t lose the goofy soundscape at all, but it doesn’t sound quite as grating.
If there is one place where I think the Remastered approach leads to an upgrade that I can, without question, prefer over Uematsu’s SFC original, it is the final track. “Another World of Beasts” is such a perfectly eerie track, and the trade-off between piano and flute with all that ethereal stuff in the background? This is where Schafianski shines. This is a fantastic elevation of an already fantastic piece of music.
Two discs in, and Sean Schafianski has written a pretty swell musical love letter to Final Fantasy VI thus far! Will he have what it takes to finish it out with “Dancing Mad” and other classic tracks on Disc 3? We shall see!
