Super Metroid OST - Upper Brinstar Theme (Green / Overgrown Vegetation) [HD Audio Remake/Remaster] Synt5 2021-03-05 | ✅ Free download in Flac available at Bandcamp: synt5.bandcamp.comGoing in a different direction than the typical Super Metroid Remix out there, I present my personal remake of the iconic Green Brinstar/Overgrown theme in full hi-fi audio glory. Please expand for more info.Each instrumental line was remade from scratch, note by note, seeking to preserve the original arrangement by Kenji Yamamoto. Different from the current "SNES soundtrack restoration" trend, I used only a few of the original uncompressed samples used in the game ROM, and chose to recreate most of the sounds using era-appropriate synths and samples. I tried my best to preserve the original panning and overall mix structure of the original track, while upgrading it with a more polished production. The result is, to my ears, sonically compatible with what was possible to be achieved using high-end synth and sampler hardware available in 1994.Every keyboard you see on the video is actually being used as a controller to trigger either a MIDI module, a VST, or both at the same time. I prefer to do it this way in order to make it easier for the viewer to differentiate between parts and sounds. Here is a more detailed breakdown:Intro Marimba - Roland A37 (midi controller for Jv2080)Bass - Novation X-Station (midi controller for Dexed Vst + Kontakt)"Tam-tam" drums - Arturia Beatstep (midi controller for Kontakt)"Tam-tam" synths - Novation X-Station (midi controller for Dexed and Korg Vsts)EP/Voice - Roland A-37 (midi controller for Kontakt + Jv2080)Little pop-up synth - Alpha Juno 1 (custom organ patch + midi controller for Korg Vst)Voice Pad - Novation Ultranova (midi controller for JV2080 + Korg Vst)Crescendo voice pad at the end - Roland A-37 (midi controller for JV2080)VSTs were mostly by Korg, Roland and old sample libraries from E-mu and Akai running in Kontakt. Instead of just converting the .smc sequencing information into MIDI data, I chose to reperform all the instrumental parts to get more expression. The recorded MIDI sequences were later processed in a DAW (Reaper), where everything was further edited, mixed and mastered using mostly UAD-2 plugins. This all took a lot more effort than what I had anticipated. If you want to geek out on this, I'd be pleased to answer your specific questions in the comments. If you want more remakes from other Metroid tracks, or even tracks from other games, please leave your request in the comments. Thanks for taking your time to watch this video, I hope you enjoyed. #SuperMetroidRestored #VideoGameCover #SNESmusic
Super Pinball: Behind the Mask OST - Wizard [Obscure video game music covers] Synt5 2021-06-01 | Moving away from the canonical repertoire of 16-bit VGM covers, I present this 90's chillout cover version of "The Wizard", a great tune from the otherwise unremarkable SNES game Super Pinball: Behind the Mask, dressed in full Enigma-style.From the beginning until up to 01:39, I preserved the original arrangement mostly intact (I just added a gradual intro instead of going straight to the beat). To prevent it from getting too repetitive, I inserted a small improv variation from 01:39 to 2:59, using elements from the original arrangement (plus a few easter egg Enigma musical references). From 2:59 onwards, I return to the original arrangement to finish the song. In the early 1990s, Enigma's debut album MCMXC AD became a massive worldwide hit, featuring Sadeness and Mea Culpa. With its then-innovative mixture of gregorian chants, ethnic instruments, sensual melodies and groovy rhythms, it ended up being generically labelled as "new-age" or "world music" by (physical) record stores of the time. Little did they know, this foundation laid out by Enigma was so ahead of its time that it preceded the entire subgenre of slow-tempo, atmospheric chillout music we all love today.Following the steps of Yuzo Koshiro and his Streets of Rage intro, other VGM composers would also drink from the same source. The Wizard is no exception: composed by Yusuke Takahama, its shakuhachi-like leads, bells and synth choirs accompanied by the iconic swinged 909 drums are a carbon-copy of the instruments found in Sadeness. So, it would make the most sense to materialize what was already there.For this version, I recreated every instrumental part and every sound to match Enigma and its siblings of the early 90s. The result is a sonic trip to the past that I hope you'll enjoy.Instruments used:Lead - Novation Ultranova controlling via MIDI a Kontakt VST running an Emulator II library;Bass - Roland Alpha Juno 1, acting as a synth on its own but also layered with a Dexed VST;Choir - Novation X-Station controlling via MIDI the JV-2080, also layered with the Korg M1 VST;Bells - Roland A-37 controlling the JV-2080, also layered with the Korg Wavestation VST;FX - Arturia Beatstep triggering the notes on the JV-2080, but also controlling the FX depth;Drums - Roland Cloud Tr-909 VST;More nerdy music info below: DrumsI recreated the original Sadeness drumloop from scratch, without sampling. If you read my SoR intro description, you'll know that this beat was originally sampled from Soul II Soul's Keep on Movin'. This meant that, in order to accurately recreate it, I actually had to go through a two-stage process: first I had to match the drums in Keep on Movin', and only then I was able to re-match the processing done in Sadeness. I used the Roland Cloud Tr-909 VST, which I definitely don't recommend: the attacks and nuances simply don't match the original 909, and it was very laborious to get it sounding right. Please Behringer, release the RD-9! BassChoosing the right bass sound was tricky, since Enigma does not use typical synth bass sounds (a part of its charm). However, other Enigma-like acts from the 90's (i.e. Delerium, Deep Forest, Atman) recurrently use heavily-chorused synth bass sounds to match similar drum loops. Since the specific bass timbre in The Wizard suggested a DX7 bass, I opted to go both ways: I used the Alpha Juno to get the analog stereo spread through its built-in chorus, and layered it with a FM bass from Dexed.Lead The original Shakuhachi lead, as used by Enigma, is a notorious sample found in the EII library (Loon Garden disk). As one of the most recognizable Emulator II sounds (i.e. Peter Gabriel's Sledgehammer), it was later "ported" to every other ROMpler around, but none would sound like the original. The only trick is that the Enigma version trims a bit of the attack to get a more sustained note.Choirs & BellsFor the choirs, I layered the JV-2080 choir (Session SR-JV exp) with the classic choir in the M1 VST. The same was done for the bells, layering patches from the JV-2080 and the Korg Wavestation VST. FXThe two base sounds I used for FX sounds came from the JV-2080: a descending hi-resonance sweep and a synth drone. I trigger the JV-2080 using the Beatstep pads, but also made a macro to control FX depth with the rotary knob. However, I later added a TON of processing using one of the harmonizer/delay programs in the Eventide VSTs (Eventides were used all throughout Enigma), which in the end made my knob-turning appear like I didn't know what I was doing... If you're one of the two people who've read this far, I'll share a little personal story behind this song. In 1995, little me woke up one day quite fed up with school, and decided I'd skip class. My late father was at home that day, and didn't force me in any way: instead, we rented a game to play together all day long. This was the game, and I've never forgotten that day. #SNESmusic #ObscureVGMcovers
Berserk - Guts Theme [Synthwave Remix • 1 Hour Loop] Synt5 2021-05-21 | This is the 1 hour version of my synthwave / retrowave / chillwave remix of the Guts Theme, so you'll have extra time to get super melancholic. RIP Kentaro Miura.
Berserk - Guts Theme [Synthwave Remix by Synt5] Synt5 2021-05-20 | As a tribute to Kentaro Miura (RIP), this is my synthwave / retrowave / chillwave remix for the legendary Guts theme, originally composed by Susumu Hirasawa for the soundtrack of the Berserk anime in 1997.
Fatboy Slim - Sunset (Bird of Prey) [Live synth cover] Synt5 2020-09-17 | Here’s an unlikely live cover performance of Sunset (Bird of Prey), originally released by @FatboySlim in 2000 (!). Everything was played/triggered by hand using hardware - no sync, no MIDI, no sequencers. Expand for more details. From left to right, gear list and musicians were:Sequential Six-trak - França Guimaraes – Resonant padRoland Sp-404 - Guillermo Caceres - Drum loops, FX & voice samplesKorg Microkorg - João Marcos - Morphing hi-hat thing, Arp synth Yamaha An1x - Susannah Quetzal - Bass synthRoland Jx-10 - Raul Guimaraes - Chorus padThis year 2020 marks the 20th anniversary of @FatboySlim's "Halfway Between the Gutter and the Stars", and Bird of Prey has since become a fan-favourite among his catalogue. At some point, I thought: “How challenging would it be to perform it live, instead of DJ'ing it from a record?” This is what we once again sought out to investigate…For the drums on the Roland Sp-404, we reconstructed the same breakbeat drumloop using the original source, James Brown's 1969 track "Soul Pride (Pts. 1 & 2)". However, breakbeat has got its own tricks. In order to get to the same "punch" of the recording, I had to recreate the loop using layered audio excerpts taken from different parts of the drum solo in Soul Pride, choosing the right combination among little fills, hits, swings and snare rolls and panning them left and right. Oh, and there’s also a thumping 909 kick strategically tuned for the low end.The voice samples follow a similar approach, taken from Jim Morrison singing the poem "Bird of Prey", originally recorded in 1970 but later available on the CD release "An American Prayer". That recording has several repetitions of the same verses to choose from, and some tweaking was required to set the right speed, EQ and delay for each phrase, but nothing serious. Some of you will notice that we included the verse "Am I going to die?", which was not originally present in Fatboy Slim's single version. The rest of the samples are little fills and effects, like the 909 drum roll and larger-than-life cymbals. That distorted voice loop during the break is the only thing we took from the Fatboy Slim recording - we tried to recreate that, but nothing came close. The Sequential Sixtrak and the Roland Jx10 share synth pad duties: the Sixtrak makes the rising resonance pad, while the Jx10 makes a chorused pad. Unfortunately, their audio recording was heavily distorted, so I only had the audios from the cameras, which are also distorted, but at least bearable. The Microkorg plays two patches, depending on the part. One is the hi-hat "thing" that adds a moving effect to the main drumloop, mimicking a similar effect found on the original, but which is hard to hear because of the live recording. The other is a repeating synth that is tweaked during the build-ups. They get slightly out of sync… but that’s life.The Yamaha An1x has the bass playing in sixteenth notes uninterruptedly, which was tricky to perform live. The original recording featured a heavily sequenced 303-style bass which wasn’t working at all during rehearsals. We chose instead a harder, fatter, better & stronger timbre to get more definition for the low end when playing live. Attentive viewers will right away notice that this is the exact same gig where we recorded our (now popular) Streets of Rage video. In fact, Bird of Prey was the track we played right after Streets of Rage. Initially, I didn't want to release this one in the hope that we would get a better recording later, but we’ve never performed this track again ever since, so it made more sense to edit a video as it was instead of leaving it to be forgotten in some HD vault. I hope you’ll all enjoy.The laptop you see onstage is just mirroring the video projection for us to get the visual cues. Please forgive the shaking cameras, uneven lighting, grainy video and saturated audio, we did this for fun.#LiveSynthCover #BirdOfPrey #Synt5
Super Metroid OST - Lower Brinstar Theme (Red Soil / Swampy Area) [HD Audio Remake/Remaster] Synt5 2020-08-10 | ✅ Free download in Flac available at Bandcamp: synt5.bandcamp.comIf the Super Metroid soundtrack had been professionally recorded in a studio, without the limitations of the SNES hardware, how would it have sounded like? By using vintage sample libraries and synths, this is my personal reconstruction of the Lower Brinstar (Red Soil) theme, in full Hi-Fi audio glory.Each instrumental line was remade from scratch, note by note, seeking to preserve the original arrangement by Kenji Yamamoto. Going for a slightly different route than the current "SNES soundtrack restoration" trend, I used only a few of the original uncompressed samples used in the game ROM, and chose to recreate most of the sounds using era-appropriate synths and samples. I tried my best to preserve the original panning and overall mix structure of the original track, while upgrading it with a more polished production. The result is, at least to my ears, sonically compatible with what was possible to be achieved using high-end synth and sampler hardware available in 1994.Every keyboard you see on the video is actually being used as a controller to trigger either a MIDI module, a VST, or both at the same time. I prefer to do it this way in order to make it easier for the viewer to differentiate between parts and sounds. Here is a more detailed breakdown:Low drums - Arturia Beatstep (as a VST MIDI controller)Low Strings - Roland Alpha Juno 1 (custom low strings patch)Repeating noise - Behringer Model D is playing a gated noise patch, triggered by the Arturia Beatstep sequencer and further processed with delay;Bell arps - Novation Ultranova (as a VST MIDI controller)Main flute lead - Novation X-Station (as a VST MIDI controller)Choir - Novation X-station (as a VST MIDI controller)Echo Piano - Roland A37 (as a VST MIDI controller)VSTs were mostly by Korg, Roland and old sample libraries from E-mu and Akai running in Kontakt. Instead of just converting the .smc sequencing information into MIDI data, I chose to reperform all the instrumental parts to get more expression. The recorded MIDI sequences were later processed in a DAW (Reaper), where everything was further edited, mixed and mastered using mostly UAD-2 plugins. This all took a lot more effort than what I had anticipated. If you want to get more technical, I'd be pleased to answer specific questions in the comments. If you want more remakes from other Metroid tracks, or even tracks from other games, please leave your request in the comments. Thanks for taking your time to watch this video.#SuperMetroidRestored #VideoGameCover #SNESmusic
Garbage - Milk (Live synth cover) Synt5 2020-05-18 | This is our live synth performance of @garbage's Milk, an overlooked gem of the 1990's, originally released as a single in 1996 for their debut album. Please expand description for more nerdy talk.From left to right, gear list and synth players were:M-Audio Keystation - Douglas Araujo - Synth pad #1 (Mellotron strings)Arturia Keylab 49 - Gegê Teófilo - Synth flutes (Mellotron flute)Sequential Sixtrack, Roland Sp-404 - Guillermo Caceres - Bass & drum loopsYamaha An1x - Susannah Quetzal - Synth pad #2 (Saw pads)Vocals - Quésia CarvalhoDespite Garbage is generally labelled as an alt-rock band, Milk is quite a classic trip-hop track: it features female vocals hovering over a cushy synth bed with a classic hip-hop beat. Not surprisingly, it was remixed by some of the trip-hop medallions of the time, including Massive Attack and Tricky, and some of these remixes received at least as much airplay as the original. With many versions to choose from, Garbage has performed the track in a number of ways, alternating between combinations of sampled drum loops in sync with acoustic drums, electric guitars and bass, and a sampler keyboard (e.g. Kurzweil K2500) for pads and flute sounds. For this video, we chose to stick to the original album version, but using an all-electronic set up. After all, since this is practically a trip-hop track, we thought we could play it using typical trip hop hardware: a sampler and a few synths.Compared to others in our repertoire, this was not a particularly challenging track. With some strategic playing, all parts could have been performed by a single musician using a keyboard/sampler. Still, for fun purposes, we decided to split parts to fit our usual line-up. The sounds in the track always seemed Mellotron-ish to me, but there were several ways to get Mellotron sounds in the mid-1990s. The key to get the authentic sounds of the track came from a Musicradar article in which Steve Marker, the band's guitarist, comments the first album, track by track. He recalls: “We had some crappy keyboards. It was like a rackmount E-MU Proteus or something that we would have used. Now that we have 5,000 Pro Tools-based plug-in synths, it’s really hard to get those sounds back." Well Steve, guess what? We actually found the sounds! So, based on Steve's inside info and using some of my (frequently) useless knowledge on archaic synths, it was possible to narrow the sounds down to the E-mu Vintage Keys/Plus modules. The problem was finding one we could use on short notice - we didn't. So, the viable alternative was to get the E-mu Vintage Pro soundfont from Digital Sound Factory and use it on Kontakt. Our guess proved right on point: the Mellotron Strings and Mellotron Flute presets are exactly the ones used in the original track. If this had not been possible, the closest alternative would have been to use a Roland JV/XP/XV/Fantom synth with the Vintage Expansion Board, which has very similar (good) Mellotron samples with a 1990s flavour. So, the M-Audio controller on the far left plays the Mellotron String preset, and the Arturia Keylab next to it plays the Mellotron Flute preset. The two are MIDIed to a single laptop running Kontakt on Windows with a Native Instruments audio interface (under the table), and its audio output was connected to the mixer (Yamaha Mg12).In the center, the Sequential Six-trak plays the synth bass, programmed to loosely resemble an electric bass. The bass was the only non-electronic instrument used in the original track, and is usually played live in the band's live performances of the song. Next to the mixer lies the Roland Sp-404 sampler (the same used in our other videos), but the cameras did not get a good shot of it. The sampler plays a layered drum loop that, while it is not the exact one used in the original recording, was programmed in true '90s fashion, by combining and layering drum loops taken from Polestar Magnetic's XL1 Akai sample CD (which is a goldmine of 90's loops if you're into that sort of thing). The result sounds heavier and dirtier than the original drum loop, but we intended that vibe. On the right side, the Yamaha An1x doubles the synth pad part by adding a more silky texture that nicely complements the harsher Mellotron strings, achieving this wider, richer synth pad thing. Next to the An1x is our Roland Jx-10, which didn't see action in this specific track. The original recording also used different layers of pads and a truckload of reverb to mesh things, so we did no different. Quesia's vocals used a Lexicon MX200 rack for reverb, but it also had some of the Yamaha's built-in reverb mixed in along with the synths. The audio was recorded by two Zoom H4n (4 tracks) and one Zoom H1 (2 tracks), routed from the mixer. Once more, please forgive the shaky cameras, the terribly grainy images, and other small imperfections, we were just having fun. Thank you for watching :)#Garbage #SynthCovers #LiveSynths
Ace of Base - Happy Nation (Live synth cover) Synt5 2018-04-13 | This is our live synth performance of the 1993 hit from Swedish act @AceOfBase, originally composed by Ulf Ekberg and Jonas Berggren.Every synth line has been transcribed note-by-note from the original arrangement and played live using a set of VCO, DCO, VA hardware and virtual synthesizers, along with a sampler for drums. We did not use any form of sequencing or sync through computers or MIDI.This time we recorded live in a small studio to a very small audience as part of a synth workshop. Space was very limited, so we had to set up a circular pattern with the synths. It kinda looked ok.Starting with the Sixtrak and moving clockwise, gear list and synth players were:Sequential Sixtrak – José Lucas – Main synth riffKorg Microkorg, Roland Sp404 – Guillermo Caceres – Bassline, drum triggeringM-Audio controller – Gegê Teófilo – Korg M1 (Vst) voice pad & whistlesArturia controller – Anderson Freitas – Korg M1 (Vst) electric piano chordsRoland Jx-10 Super Jx – Douglas Araujo – Saw padsYamaha An1x – Susannah Quetzal – Saw pads, synthy chordsBacking vocals – Livia FittipaldiLead vocals – Quésia CarvalhoWe confess there have been a few omissions this time. Most notably, we didn’t do the male vocal parts in this one, as we ran out of microphones, recording channels and extroverted male candidates – but you can still hear some of us singing “we’re travelling in time” in the background. Feel free to sing along!The drums were reconstructed from scratch on Reaper using mostly samples from the Roland R8mkII and Yamaha Ry-30, which were sought after drum machines around the year this song was produced. They were heavily processed with UAD stuff to get them punchier and closer to the original, and then chopped and bounced to .wav to be imported by the Sp-404.The Sixtrak did an amazing job at recreating the main synth lead of this song. Despite the huge amount of stepping in its parameters, we were able to adjust the resonance and add just the right amount of filter feedback to achieve that sandy texture of the original sound. And then threw a ton of reverb over it .The Microkorg has got the main bassline, though I must admit it is not 100% accurate. It has some notes missing here and there (I should probably stop getting so distracted trying to record videos and play those tiny keys at the same time…). For purists, in the original recording there was yet another synth line – a barely audible secondary bass layer playing semiquavers. We’ve decided to omit it in favour of clarity in the mix. As for those controllers… for the first time we had to break our vow to only use hardware synthesizers. Unfortunately we did not have our Korg M1 available anymore, so we had to go with the next best thing – the Korg M1 Vst – which sounded convincing enough for our purposes. Please forgive our heresy. Both controllers were midi-chained to the VST using Reaper as a host. The patches for the epiano, voice and whistles were slightly edited versions of presets in the M1 library.The Roland Jx-10 resurrects once more to provide us with those unique low pads, intersecting with the An1x (which plays the high pads). The An1x also doubles the M1 E. piano chords with a synth layer. Once more, please forgive the shaky cameras, some misspelled lyrics and the few misplaced notes, we were just having fun. Thank you for watching :)#AceOfBase #SynthCovers #LiveSynths
Streets of Rage - Intro Title Theme (Live) Synt5 2016-06-20 | This is our live synth performance of the iconic intro songs from Sega Genesis games Streets of Rage 1 and 2, originally composed by Yuzo Koshiro. Please expand description for more info.As you might have noticed, our arrangement combines both intros for Streets of Rage 1 and 2. The Streets of Rage 1 part goes up to 1:45 min, and then blends into Streets of Rage 2. In 4:19, just after SoR2 climax, we go back from SoR2 to SoR1 and finish as SoR1.Every melodic line has been transcribed note-by-note from the original arrangements and played live using hardware synthesizers, along with a sampler for drums. No computers were used, no MIDI, no sync. From left to right, gear list and synth players were:Korg M1 - França Guimaraes - M1 pianoSequential Sixtrak - Susannah Quetzal - Synth solos #1 Korg Microkorg, Roland Sp404 - Guillermo Caceres - Bass, drum triggeringYamaha An1x - João Marcos - Synth solos #2 Roland Jx-10 Super Jx - Raul Guimaraes - PadsFor the drums, we used the classic sample from Soul II Soul's Keep on Movin' , originally released in 1989. Recorded with a Tr-909, this drumloop would later become a staple for many electronic productions in the 90's, of which Enigma's Sadeness (1990) is usually the most remembered. It is extremely likely that Koshiro had this exact drum sample in mind when setting the mood for the SoR intro, so it made sense to use it in our version. The piano sound in the Korg M1 is another interesting case. The M1 had already been available for 3 years in 1991, and was still extremely popular at the time. Its piano sounds found their way into all sorts of arrangements, especially in dance/house music trends, and became one of the most recurrent sounds throughout the 90s. If Koshiro had to choose a preset piano sound to record SoR, this would have to be the one. The Sequential Sixtrak that plays the solo is quite convincing. The only problem is that it does not offer an option to quickly turn the portamento on/off. So, for some passages, you can see it being edited live. Our barely functional 30 year old Roland Jx-10 provided us with some of the nicest pads available in the 80's. The sound is a custom layered patch edited from a classic "Soundtrack" preset (think of Alphaville's Forever Young), and makes extensive use of its 12 voices and built-in Roland chorus unit. This would be our personal choice in a SoR recreation anyway, and the Jx was very happy to see some action again. As usual, please forgive the grainy quality, the shaky cameras and the few misplaced notes, we were just having fun.#StreetsOfRage #YuzoKoshiro #LiveSynths
Snap - Rhythm is a Dancer (Live synth cover) Synt5 2015-08-24 | This is our live performance of the classic 1992 eurodance hit Rhythm is a Dancer, by German group Snap!Every synth line was played live, without resorting to computers or sequencers. No midi. Our syncing was based on a revolutionary metronome-to-earphones system :) From left to right, gear list and synth players were:Korg M1 - França Guimaraes - Choir pad, strings lead, piano soloSequential Sixtrak, Sp404 - Guillermo Caceres - Bass, drums triggeringKorg Microkorg - Susannah Quetzal - 16th note synthYamaha An1x - Anderson Freitas - Main synth phrase, synth solosClavia Nord Lead 2x - João Marcos - Bell-like synth lineVocals - Quésia CarvalhoThe arrangement was based on a combination of the Radio Edit and the 12'' versions. We decided to leave out Turbo B's rap verses to favour the instrumental lines. This time we had available one of the original synths known to have been used in the original track - the Korg M1. This allowed us to recreate the voice choir, the strings and the piano exactly as they appear on the original recording. The original bell-like sound played by the Nord Lead could also be found on the M1 library, but we would've run out of keyboard space to map the sound appropriately.The versatile Microkorg was programmed with a sixteenth note repetition, which prevented the player from dying of muscle cramps and helped to keep us in sync during the instrumental interludes. The drums were reconstructed with 909 samples using Reaper, bounced to audio, and played back by the Sp404. The only sample was the hit sound that can be heard during the intro and instrumental parts. Again, please forgive the grainy quality, the shaky hands and the few misplaced notes, we were just having fun.#1990sMusic #LiveCover #LiveSynths
Yazoo - Situation (Live synth cover) Synt5 2015-05-06 | This is our take on reconstructing the influential synthpop track Situation by Yazoo.Every synth line was played live, with no computers involved and no syncing other than our ears :). The drums were reconstructed from scratch using Reaper, and then bounced to audio and imported to the Sp404. The only sample was the notorious Alison Moyet's laughter, as we were able to remake the "Move Out" choir with our own voices. The projection is Simian Mobile Disco's Put Your Hand Together video, we thought it would somehow match the song - and it really did.Please forgive the grainy quality, the shaky cameras and the few mistakes, we were just having fun.From left to right, gear list and synth players were:Roland Juno Gi - João Marcos - Synth lead #1Sequential Sixtrak, Sp404 - Guillermo Caceres - BassKorg Microkorg - Tchesco Oliveira - Rhythmic synthYamaha An1x - Susannah Quetzal - Main synth riffsClavia Nord Lead 2x - Raul Guimaraes - Synth lead #2Vocals - Zeca Filho#Yazoo #LiveCover #LiveSynths
![Super Metroid OST - Upper Brinstar Theme (Green / Overgrown Vegetation) [HD Audio Remake/Remaster]](https://i.ytimg.com/vi/GfCHqIVwlZI/maxresdefault.jpg)