Analyzing "Fracture Ray" by Sta + Sakuzyo (Arcaea/Tone Sphere) | Basterd's LFA

Added: 2026-05-26

[00:00:00]Next up, we have Fracture Ray by Star and Sakuzio featured in Arcaea is my understanding. There's another one, but I forgot it. Once again, everybody, this is a bastardized elegy, a layman-friendly analysis. I'm a professionally trained musician composer, and my objective here is to explain things in a way so that you don't have to be one to understand what is happening here musically. So, if you like the sound of that, make sure you're following the channel, subscribe to the channel, whatever the kids use. Like the video, share it with your friends, comment, turn on notifications, become a member. Once again, everybody, don't forget to join the Discord server. Join the Patreon, subscribe to the gaming channel, subscribe to the reacts channel. How to request songs if you're not one of the livestream members.

[00:00:36]Getting early access to the content I have a spiel for this and a bunch of other things later than this video, so stick around for that. Disclaimers showing on your screen right now, so go ahead and pause the video to read them in full. Otherwise, please be patient with me. I am a cool stick and guitar-ed, so please keep that in mind.

[00:00:49]With that, let's [clears throat] do this.

[00:00:53]Fracture Ray, let's go.

[00:01:10]Okay, that was awesome. So, we start with a bunch of ambience, and we slowly start bringing in a very distorted synth, giving us some arpeggios. An arpeggio being when you play a chord one note at a time. Arpeggio add the motive, I would say. A melody with arpeggio to an extent. Arpeggio being when you play a chord one note at a time. For example, here's C minor.

[00:01:34]Here's arpeggiated.

[00:01:36]So, yeah, we're having that.

[00:01:38]And that one, I think that melody could be our initial motive. Motive being the smallest version of your musical idea, the seed, the essence from which everything else comes from.

[00:01:47]Then we bring in the full stuff. I think we have a piano and vocals. Let me hear a bit more.

[00:01:54]>> [music] >> Okay, so we have a piano. We have some violin samples in the back playing along with the chords doubling the piano.

[00:02:03]Doubling is when you have more than one instrument doing the same thing at the same time. And then we have a vocal track here giving us another melody.

[00:02:12]That one could be the motif. Let me hear a bit more.

[00:02:17]Oh, and the synth that was doing the arpeggios is replaced by a violin sample.

[00:02:26]Nice. There's a lot of stuff going on right now.

[00:02:31]There we go. Stop.

[00:02:34]Yep, so the vocals were giving us a counter melody, not really the main material. The main material is what the violins are doing because now we switch over to this melody over here with these distorted chimes giving us an elongation of the motif. Elongation being another way that you can develop your material in which you play a slower version of something you've done before. So yeah, turns out the the motif is a combination of arpeggios and scales. But here it goes.

[00:03:02]Is that a tone sphere? I think tone sphere as well. Okay.

[00:03:06]We have Oh, so cool.

[00:03:11]So yeah, we bring in this build up.

[00:03:13]We're building up a lot over here. We bring in some reversed audio samples basically meaning that you take the audio file and you just play it in reverse. Uh for some of these, now we are bringing in this drum with other other um arpeggios happening in the background.

[00:03:28]Let's see where this goes.

[00:03:35]So as the drum beat starts, uh you know, making the different drums to them, we are having the motif playing in what sounds to be uh now it sounds like it's the the original version, but now it's cut off.

[00:03:51]It gets cut off in between every few drum beats. This kind of stuff. Let's see where this goes.

[00:04:02]Very interesting. We have build up in the background and I was not expecting this. So, we streamline the drum beat to be a dropping off the beat. We continue the synth giving us this elongated version of the motif that is now being cut off like pause and continued kind of thing.

[00:04:32]While the drums were getting the rest of the synths, there's one I think holding down the chords in the background as usual. And then the rest is just the drums and texture. Let's see where this goes.

[00:04:45]Bit more added to the drums. A lot of texture stuff over here. Don't stress.

[00:04:50]Thank you.

[00:04:51]See and The baseline drum beat that we're getting is the same. We just keep adding stuff around it until it starts sounding like something completely different.

[00:05:07]Very straightforward.

[00:05:10]Very straightforward. The drums are going absolutely bonkers. But basically what we are doing is that we have the drum Okay, so here's the bass drum and here is the snare. And this is the pattern that we've been having for the bass drum and the snare. And now we are starting to add like different bits and bobs around Kurwa. We're just adding different bits around them until they start sounding completely different even though the main ones are still there.

[00:05:40]This is such a cool This is such a cool way of doing it. Let's see where this goes.

[00:05:48]Yeah, just adding more stuff. So, yeah, we're chopping the audio file, interrupting it with something else, texture, and we just keep adding to the drums.

[00:05:59]It's so straightforward, but it sounds so cool.

[00:06:03]Oh my god, that's awesome. That's awesome. AND YOU KNOW WHAT ELSE IS AWESOME?

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[00:07:13]All right, back we go. Let's continue see where this drop is going.

[00:07:18]Some extra stuff.

[00:07:24]>> [music] >> Nice. And we are adding some echoes of the distorted parts of the music that we are doing. Some runs, basically scales up and down, chords up and down, adding to everything.

[00:07:38]And we're just continuing with this.

[00:07:41]Cut it off. Let's see.

[00:07:43]Go back to it.

[00:07:45]And And off the ramp we go. Yes, off the ramp we go. Off the ramp being a colloquial term that I use. Colloquial, by that I mean there is no official academic definition for this, or at least I'm choosing not to use it for the sake of simplicity. And off the ramp is what I like to call a particular type of transition that makes your listener feel suspended up in the air at the mercy of inertia waiting to see where you land.

[00:08:07]Kind of like going off a ramp. How do you do this? Remove the drums, maybe the bass as well as you are seeing over here.

[00:08:12]Here, excuse me. Let's see where this goes.

[00:08:17]So, we have like a circus arrangement.

[00:08:20]Slowly bringing it back in.

[00:08:23]>> [music] >> Okay, so we bring the melody that the vocals had at the very beginning, I think. With the trumpets, we have the chimes in the background giving us an elongation of the motif.

[00:08:38]Let me see where this goes.

[00:08:44]Orchestral stuff, you hear the harp there. Full orchestral arrangement.

[00:08:51]Distortions, off the ramp again, and >> [music] >> Okay, so we now bring in the drums, full drumbeat once again. This time we start with the piano giving us a variation of the motif. I think it might be an inversion, maybe an inversion of the motif. Uh inversion is another way that you can develop any your material in which you do an upside down reflection of something you've done before. So, if I have this here, for example, and I do an inversion, then I'm going to play an upside down reflection of it usually from the same point.

[00:09:31]>> [music] >> So, we're doing that over here. We might be doing a uh an inversion over here.

[00:09:37]And we are having that, the full orchestra.

[00:09:41]We are bringing back the concept of interrupting like the on and off, but this time we start with the piano, we continue with one of the synths instead.

[00:09:50]Let's see where this goes.

[00:09:56]Nice, still continuing.

[00:09:58]It's [music] really good, yeah.

[00:10:00]And in the background we're having a bunch of chords played by the rest of the ensemble.

[00:10:05]There's the melody from earlier.

[00:10:10]So, yeah, we switch over to the slower melody that we had, the counter melody that we had before. We have a guitar doing what sounds to be a variation of the motif, very very high up, and the guitar basically sliding back and forth between the different notes, allowing for a slightly different type slightly different sound of this.

[00:10:31]Because when it comes to a guitar, if you look at a guitar the way that that they are built, you can move between Google, please.

[00:10:40]Do you mind? All right.

[00:10:43]So, as you can see in a guitar, you can have the fretboard over here, and that means that if you press a note over here, you can then slide up, and you can move from one note to another and just slide between them easier than it is in the piano, not as easy as it is in like violins or stuff like that, but we are using that kind of that kind of sound to add to the original motif even more. Let's see where this goes.

[00:11:15]Nice, we're having those runs up and down at the sides.

[00:11:19]Nice, and yeah, this whole thing has been engaging in a very very big set of counterpoint. Counterpoint being the study the art of melodies, how they are, how they develop, how they interact with one another, usually in the context of having two or more at the same time.

[00:11:33]Right now we have like four or five part counterpoint. Very very complex. I think we went off the rail. Let me go back a second.

[00:11:41]Off the rail?

[00:11:44]Piano.

[00:11:46]All right, there we go. Immediately going to the next part.

[00:11:50]Oh, there's the drop from earlier.

[00:11:52]That's the drop FROM EARLIER.

[00:11:55]NICE.

[00:11:56]BOUNCING DRUMS AGAIN. Same principle as before.

[00:11:59]Yep.

[00:12:00]Adding a bunch of stuff in between, but the main drum beat is the same.

[00:12:05]How's it going to end?

[00:12:07]The interrupted melody line is so good.

[00:12:13]And yeah, a bunch of the other in between stuff are very random sounds that are basically just there for texture.

[00:12:21]It's basically just added texture. It's really good. Let's see how it ends.

[00:12:29]Nice. Very insane drums here. Yeah.

[00:12:33]All right.

[00:12:35]Speed up the drums.

[00:12:37]Bring it back to just the piano.

[00:12:46]Okay, so we do a false ending with the piano. We resolve the piano. We have the orchestra going um down, back up, and then crashing back down. And there you have it. Fracture Ray by Sta and Sakuzyo featured in Arcaea and Tone Sphere is my understanding. That was That was very fascinating, dude. Once again, everybody, this has been a Bastard's Elegy. It was surprisingly straightforward. Surprisingly straightforward, but really good. Once again, everybody, it's a Bastard's Elegy layman-friendly analysis. I'm a professionally trained musician and composer, and my objective here has been to explain things in a way so that you don't have to be one to understand what's happened here musically. So, if you're watching this on the YouTube video archive, thank thank you for Make sure to following the channel. Subscribe to the channel. Whatever you want to do.

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[00:16:05]And uh yeah, there you have it. Fracture rays, the Sakkuzyo arcade tone sphere.

[00:16:11]Good stuff, man. That was really good, very fascinating as always, Sakkuzyo.

[00:16:15]You know what? Good stuff, good stuff.

[00:16:17]But uh yeah, let's move on, let's move on.