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  1. 7 likes
    It's here - our new album cover! I've posted it to the first page of the thread too. Tell us what you think!
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    I would highly recommend a multi-tier desk!
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    Hey everyone! I found a new job, my life is getting back in order and I'm eager to hop on board the Arcadia Legends hype train again and take over directing duties again! I've already PM'd quite a few up and coming new remixers that blazed onto the scene in recent months. I am going to get with Modus, my co-director, and recap what's happened in my absence, update the first post track listing as best as I can and begin to check in with every remixer currently on the books who still owe us a track. So expect me to get with each of you soon in the coming week(s). We're almost 2/3rds done with the entire 3-disc album! Come on everyone! The ending goal is in sight and we have almost a third disc's work of tracks left to claim! We got this!
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    Hi there. I have been a silent lurker until now. I'm not confident in my mixing abilities since the last time I did any music composition was back in the Dark Ages of High School in the '90s. But I have been excited to see this project grow and evolve and start coming into its own and really I have wanted all along to be able to have some part in its creation other than as a witness. I heardon't a rumour today that you are looking for some voice actors to record some dialogue to add another texture to the album. I would like to offer my services as a possible "Voice of Slippy" if that role is still available Please? Many thanks, Purp X♡X♡
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    Yup, I totally agree, edited quote that you didn't actually say.
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    Failure is not writing "bad music". Failure is not writing music at all. If you don't like something, just remember its music, music is subjective. and someone somewhere will adore it. Being a composer means writing things you won't necessarily enjoy or like... hell you might not see any merit in it at all. Having a career as a composer is about keeping someone else happy, not yourself. Sometimes that means writing something in your own style, but usually you gotta fit to your brief. Besides, sometimes a mediocre idea can turn into something incredible if you just keep at it. Never give up, never scrap an idea if you can help it. You never know what you'll end up with, or what may happen.
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    Lmao oh man this is gold. I wonder if this is his approach to dating too? "I tell ya what: I'll stop stalking you if you go out with me. We got a deal, or what?"
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    Super general rule of thumb: Contrast. Contrast is everything in making an effective transition between parts. The more different the sections, the more likely it'll be considered a new section to the listener's mind. if you're having trouble making something sound like a transition, drop out more elements, change more items until things sound very different from what came prior (yet has enough motivic elements to keep the track sounding relevant to your arrangement). It's a tricky balance, but contrast is the one big item that makes one section sound different from another. A really cheap trick? At the end of one section, drop everything out, then have the next section come in at full strength again. There's really no greater amount of contrast than from going from nothing to everything. Don't overuse it or else the track sounds repetitive, but it's a nifty tool to have under your belt. You probably know this intuitively, since you use it in your latest posted track (yout Lemmings remix, at 3:15), but perhaps hearing it spelled out can help you understand how to use it in the future, as well. There's a whole study on this particular element of music theory, called Temporal Gestalt Perception (or musical segmentation). It's some heavy reading, but if you get through it there's some useful insight on how to parse music into defineable segments. For the super technical among us the theory has issues in it's applicability (since there's no way to properly weigh how much an individual count things like timbre, dynamics and harmony as 'different enough'), but the concept is pretty sound: we hear contrast as something that separates the music into sections. Hope that helps!
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    Just do a MIDI rip and send that. In the past (5 years ago or something like that) I also had someone who mailed me a couple of times to ask me to remix some tunes, but he wasn't going so far and he only send a few mails. Also had some people (woman) who wanted to marry me because they liked a remix I did in 2008 so much...LOL.
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    My bad DarkeSword. Didn't even notice these threads were under the music history forum. Just assumed this was the general music forum. Still no excuse for lazy posting on my part. Anyhoo, to dive a bit deeper into why I enjoy the Super Monkey Ball 2 soundtrack in context of the game. Besides sounding good, the juxtaposition between these bright environments and characters with music that becomes increasingly more ambient and darker by the time you reach the last two boss worlds gives a unique feel to the game. Maybe if I had a little more music knowledge and experience I could dig into why that is, but just as someone who enjoys games and music the soundtrack did an excellent job of matching the environments, and in a game where you're dying frequently and having to replay stages countless times over, the last thing the music should do is become a nuisance. Perhaps that's why the music becomes more ambient as the game progresses: to not needlessly draw the player's attention as the difficulty of each stage ramps up. May not have been the intention, but definitely an interesting coincedence.
  12. 3 likes
    What video is this on? EDIT: nevermind, found it. Luxray214's had his comments hidden on the OCR channel now. You won't see him posting this nonsense.
  13. 3 likes
    This song is pretty interesting. Let's see what I can do now that RvK is done!
  14. 3 likes
    got two builds for OCR folks incoming, one of whom isn't listed in the thread. looking forward to getting the parts and playing with more tech =)
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    If you want to release this through OCR with the option of physical release down the line, you should know that we do all of our physical printing through Nationwide Disc. Nationwide has templates for packaging; the two types of packaging we usually do are digipaks and sleeves. Any multi-disc album would be done as a digipak, and any single disc album would be either digipak or sleeve. As far as OCR is concerned, jewel cases with inserts are not really an option; they break too easily. It's also important to note that when preparing album art, make it 300 DPI. That's the minimum quality needed for print. A good test would be to take your art and paste it into the one-disc sleeve template and make sure it's large enough to go over the bleed lines.
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    Hey, look, what's that? https://mobile.twitter.com/ocremix/status/875445330883432448 Yeah, I'm slow a bit
  17. 3 likes
    It's tough to give exact numbers, but my feeling is that it's leaning more towards sampled than real instruments. The amount of tracks with purely real instruments is probably not that high, but there's a lot of tracks that have a mix of sampled instruments with real instruments (e.g. a rock track with real guitars and bass but sampled drums, an orchestral track with a live violin, an electronic track with vocals, you name it). Always a good way to make a track sound more lively and more human. I second what Meteo is saying, just use what you have, play around with it, have fun with it and see what comes out. If it sounds good, it is good
  18. 3 likes
    Go for it! Underrated series, especially music-wise.
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    The following is also within the OP's update. ATTENTION: June 6, 2017: First, my big fat apology to anyone affected. First started on the 25th anniversary of the original release of Snatcher, I was certain my personal busy-as-hell situation would prevent me from following this project properly, and I wanted to recruit and set up a staff before that happened. I failed miserably, and this ended up being put off for years. June 6 is an important date in Snatcher lore, and I decided I would stop the nonsense on this date. I have people to help me, and I'm actively recruiting, but bear with me a little while on claim status as I contact interested parties from before. I'm also available on our discord chats and willing to answer questions and take constant nagging (to a point, of course). My other projects related to Snatcher's music are on again as well, for those that know about it; if not, see the above video for details. Further clarifications are forthcoming within the week. “Let’s go, Metal!”
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    I think that, besides the great things mentioned above it's also very important to have certain arranging techniques which are difficult to acquire by yourself. This of course depends on the genre of music you're writing, but a good knowledge of things like voice leading, instrumentation, reharmonization and similar things are generally very useful and help a lot with composing. Luckily, there are a lot of books about this. I'm personally not a big fan of books, but there are a few classics out there which in my opinion are a must have for every composer. Of course, it's a totally different thing whether you're writing for a string orchestra or for a rock band, so I can't really recommend anything as I don't know what your type of music and line up is. But, what I'm trying to say is that you don't have to do anything by yourself. There's a lot of people in the world that know a lot about composition and are sharing their knowledge in great detail for a small price. Just blindly listening to other people and constantly staying in a safe zone is of course also not the way. Absorbing information about things that interest you, and meanwhile experimenting with the things you're learning is in my opinion one of the richest and most fulfilling aspects of writing music. It's about the joy of discovering. Just playing around with chords on a piano for a few hours can be a very valuable and educational experience. This, in my experience, also brings the best results. Someone can tell you that the first inversion of a major chord sounds amazing, but hearing it yourself, and most importantly, stumbling on it by yourself when you're just messing around a bit, maybe accidentally adding a 9, has a lot more impact. First of all because it highly depends on the context, but also because that way it comes from yourself. This makes your music more you, and this authenticity and personality is what makes music so beautiful.
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    Critical listening and transcription are very useful tools to learn how stuff works. There's a lot to be learned from music you already love. Pick one of your favo tracks, listen critically to it. What is the core genre? How is it structured? What different instruments do you hear? How does it flow from part to part? How are the instruments placed in the mix? Also try transcribing (by ear) the song (or parts of it) yourself to get an intimate understanding of how things are done. This is a biggie and takes time, but it's worth it. If you haven't done it before, start with just the chords or the bass of a slow song. These are just some options, you can go as deep as you want with it, and for me personally it works a lot better than analysing sheet music, learning notation or music theory, simply because I'm pretty much a hands-on kinda person.
  24. 3 likes
    Disappointed at the anime style but it's written and developed by an American studio and they have a history of actually making anime good. I'll be watching it. Also, where the hell is @Chernabogue?
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    All I hope is they include "Vampire Killer" in there somewhere.
  26. 3 likes
    Sorry for holding this up. Like I explained to Weston directly, typically, it would take maybe a few months to go through the judges panel, depending on when judges got to it vs. everything else, and then some time to wait before posting, but stuff with unique issues can get held up. It's part of the issues of doing this in downtime and not as a job, you tend to make time as needed, and anything that's not super easy to deal with can get put into a corner, which I'm guilty of here and in a lot of other cases. Thanks a lot to EAR for his extreme patience and understanding. Thanks also to djp for chatting with me about the potential for the extensive sampled lyrics being a Standards violation on incorporating non-VGM music. Basically, he's been OK with vocal sampling of this nature, because it's raps and spoken word stuff that isn't pulling in any sort of non-VGM melodies or composition to be arranged. That many of the lines were from sample packs rather than mainstream music releases was noted thanks to Weston's info, but djp ultimately wasn't concerned about the source of the lyrical sampling, if you check his comments above. Just restating my POV on the potential direct audio sampling of the source tunes, I wasn't hearing that here at all and it wasn't a concern. The other Js say the source tune was "all over this," but no one bothered to break it down, so I think they conflated a lot of the house/rave style of the writing with the parts arranging/referencing the various "Metallic Madness" segments. The music part of the track was 4:27-long, so I needed to identify the source tunes being used for at least 133.5 seconds of the arrangement. :20.5-:22.25 (Past - 1:01-1:03), :38.5-1:43.5 (mostly Past, some Present), 2:22.25-2:47 (Bad Future), 2:47-3:01.25 (Present), 3:27-3:54.25 (Bad Future), 4:19-4:25 (Past - 1:01-1:03) = 139 seconds or 52.05% overt source usage There were a lot of things that had a soundalike feel to "Metallic Madness" but sounded more stylistically influenced by 2 Unlimited's "Twilight Zone" (e.g. that similar sampled shout at :23) or even the Mortal Kombat movie theme, The Immortals' "Techno Syndrome," due to the numerous orch stabs, like 1:56's little jingle. There were also plenty of extended sections with no direct connection to Sonic CD that I could ID, so I came up just barely over half as far as the source usage being dominant in the arrangement, which made it closer to me than the other judges believed, provided I'm not overlooking something major. I'm sure Weston can clarify after the fact. Anyway, Gario and Sir_NutS had fair production points about crowding and piercing highs that I agreed with, but on the whole, this was produced reasonably well and felt very authentic as a long-lost 90s club hit, and I didn't hear any dealbreaking issues for the production. All of the SFX & sampled lyric usage added up to a lot, but sounded reasonable in the big picture, as far as not feeling invasive and integrating well into the track. Good to go! YES
  27. 3 likes
    And I don't even think the Sonic soundtracks make particularly effective use of the hardware, even if they sound good as they are. Last week I did a cover of Spring Yard precisely for this reason My videos showcase each individual channel so you can kind of see what's going on. But I also made the Deflemask project public so you can download Deflemask and open it there to take a closer look at what I did differently from the original. http://www.deflemask.com/forum/show-off-your-work/sonic-1-spring-yard-zone-(genesis)/
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    I'll admit that as much as I love retro game audio I never really came across much information regarding the specific sound chips of earlier consoles. It's one of those things where I always had an interest in them but would never be able to contribute to a conversation about them. While I was trying to remedy this I came across these videos that deconstruct the different channels to show how each channel was used in the resulting mix. If anyone is into how composers worked back in the day and the limitations they dealt with then these are an interesting watch.
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    I have music knowledge! So I guess I have to talk about one of my fave Sega soundtracks now... um... Oh! Jet Set Radio! I actually have the OSTs to both JSR games on my iPhone... and wish to have the entire works of Hideki Naganuma on there one day... so I guess I have no other choice. So... 1. Why does it fit? Well, first off, the "protagonists" are gangs who listen to a pirate radio station. A pirate radio station usually plays music that isn't considered "mainstream". Back in the early 00s (when JSR came out) that was big beat and indie rock. So what does Naganuma do? He puts his own spin on the Fatboy Slim ethos, brings in little-known band Guitar Vader, and even brings in Rob Zombie for the US soundtrack. This goes even further in JSRF, where the soundtrack has artists like Cibo Matto and Scapegoat Wax that no one has even heard of. 2. What does it accomplish? Let's take a look at the title screen of JSR for an example. You boot up the game and you're greeted with the game's logo (as well as Professor K shouting it out) and a Rudie is skating around Shibuya Terminal. But most important of all, Hideki Naganuma's funky-as-hell "Let Mom Sleep" is blaring in the background. This music makes a statement, and that statement is Hey! You're playing something fresh and funky, yo, and you're about to have a BLAST! Elsewhere, let's say Final Groove, "Grace and Glory" fits the creepy, demonic atmosphere that the so-called Devil's Contract is supposed be infused with, and in the Kogane residential area mission where "'Bout the City" is playing, it creates a feeling of rocking out and tearing up the establishment - which the Rudies are definitely all about. In JSRF, "Funky Dealer" is the song that kicks off your graffiti streak, and there's only one thing this song could possibly be saying - WELCOME TO DA CLUB, BIYATCH! 3. What techniques did Hideki Naganuma use that made this piece so effective in this section of the game? "Let Mom Sleep" has various elements that blend together to make it the bar-setting funkfest that it is. The use of the brass samples at the beginning of the song has to be commended, as they add a funky 'kick' to the end of the first two bars. The organ sample from "Opposites Attract" helps to launch the song, too. Pretty much everything from the drums to the samples of 'Mom' complaining about the radio is used to maintain that all-important, rebellious, Rudie funk. Going back to "Grace and Glory", the chanting and organ at the start perfectly reinforce what the Devil's Contract is rumoured to do, and the mystical, evil feeling doesn't stop there. Naganuma-san uses samples of people screaming in pain, for crying out loud! The funk's still there, though, in the form of the bassline - though it has just the right soundfont to make you feel spooked out. That more along the lines of what you wanted, Darke?
  30. 2 likes
    The People's Remix Competition 351 PRCv14-13 Hello everyone and Welcome to the People's Remix Competition! Welcome to PRC351. PRC349 was won by Dex, the source was not Toad from Super Mario, but Battletoads. He picked the source for this round. Source: Crystalis - Pyramid (NES) MIDI https://www.youtube.com/watch?v=s3smq-69RTk Source Information ThaSauce link: Click here to submit To submit a song at the compo page you can use the ThaSauce page. If you use this, an account is required. If you don't want to use ThaSauce, please upload the song somewhere else and post a download link in this thread. I recommend Soundcloud, don't forget to allow downloads to enable me to upload the song at ThaSauce. I will keep using ThaSauce as the place where all songs are located. If you want to use ThaSauce, the following steps should be done. Click the ThaSauce Link. Click the 'You are not logged in' button in the upper right. Click on 'register' (at the bottom). Read the terms and click 'I agree to these terms'. If you don't agree with them, upload the song somewhere else and post a download link as mentioned above (by doing that, you allow me to upload the song at ThaSauce. Continue the process by filling in your information. You will get a question to confirm that you're not a robot. Here are some possible answers: Name a compo: PRC Who organizes One Hour Compo: Starla Name a ThaSauce subdomain: compo.thasauce.net Who created Mega Mans: Capcom A confirmation mail will be send. There might be some issues with it (meaning that you don't get it), if that is the case, upload the song somewhere else as described above. Once registered, login with your username and password, go to the mentioned page and submit the song. If you want submit two or more songs you can create multiple ThaSauce accounts or upload the song somewhere else and post the download link. After uploading your song, please check if your song plays and can be downloaded and played without problems. Only upload MP3 files. PRC instructions The deadline is Wednesday June 28th 2017 at 10:59 pm ThaSauce time (18:00 UTC, 19:00 GMT), check the ThaSauce page for the exact time left. Make sure that the song is uploaded to ThaSauce or that there’s a download link posted in this thread. Two days extra. You may enter as many mixes as you like and work with as many people as you like on each mix. You are free to create a second ThaSauce account for that if you use ThaSauce, it's needed to be able to upload a second remix if you use ThaSauce. Of course you can also upload it somewhere else and put a download link in this thread. Do not make qualitative comments on an entry until the results of the vote have been posted in this thread. Mixers cannot vote for themselves but if they vote they receive a free first place vote added onto their score. The winner of this round may select the source for PRC353. The winner of PRC349, Dex, can only participate by submitting a Bonus Mix. His vote is doubled in the voting stage. You can find the full rules list at this page as well. GOOD LUCK! PRC ThaSauce Home Page!
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    OC ReMix Presents Speeding Towards Adventures: 25 Years of Sonic the Hedgehog! June 22, 2017 Contact: press@ocremix.org FAIRFAX, VA... On the final day of Sonic's 25th anniversary year (gotta go fast!), OverClocked ReMix today released its 62nd free community arrangement album, Speeding Towards Adventures: 25 Years of Sonic the Hedgehog. Featuring 23 tracks from 30 artists, Speeding Towards Adventures pays tribute to numerous titles from the Sonic the Hedgehog series, and is co-directed by Russian community member Stepan "Black_Doom" Sudilovsky & Dutch musician Jorrith "Jorito" Schaap. The album is available for free download at http://sonic25.ocremix.org. Speeding Towards Adventures pulls together a deep group of musicians honoring the Sega sound team's music in a variety of styles, including rock, funk, electro swing, pop, orchestral, and more. Speeding Towards Adventures was made by fans, for fans, and is not affiliated with or endorsed by Sega or Sonic Team; all original compositions are copyright their respective owners. "The fast-paced addictive gameplay, vivid stages, and, of course, catchy music made my first experience of diving into Sonic universe one of the most memorable parts of my childhood," recounted album director Stepan Sudilovsky. "Then I started to learn more and more about Sonic the Hedgehog games, and they were all amazing to explore, but music remained the most enjoyable part of this entertainment." The scope of the album's game coverage starts from the original Sonic the Hedgehog and works up to 2010's Sonic Colors, tackling a full dozen Sonic games. Sudilovsky underscored the album's wide-ranging approach: "My vision for this project: cover as many games as possible, as well as to represent a variety of music genres to represent the variety of Sonic's journeys." The album's artwork was designed by British artist Davy "Odai" Owen, who also designed the artwork for OC ReMix's 2015 Heart of a Gamer album memorializing the late Nintendo president Satoru Iwata. "I was happy to be able to contribute some of my 'get stuff done' skills, and helping guide the album and all the people who collaborated towards the final product was a blast," affirmed album co-director Jorrith Schaap. "Really proud of the final result and I'm sure you'll enjoy the album as much as I did!" Speeding Towards Adventures also marks OC ReMix's fifth Sonic series album, following 2013's Temporal Duality (Sonic CD), 2011's The Sound of Speed (Sonic 1), 2006's Project Chaos (Sonic 3 & Knuckles), and 2005's Hedgehog Heaven (Sonic 2). About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. ### Preview it: http://youtu.be/Yemuj9HbaBE Download it: http://sonic25.ocremix.org Torrent: http://bt.ocremix.org/torrents/Speeding_Towards_Adventures_-_25_Years_of_Sonic_the_Hedgehog.torrent Comments/Reviews: http://ocremix.org/community/topic/45902/
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    It's that time again where I get to remind you of an upcoming deadline! The next deadline is July 2nd, so about 2 weeks from now. We already had a few people check in with us to update us on when they expect to have a new version, but for anyone who didn't do so we'll be expecting something Also I figured this would be a good idea to update you guys on some other things. First of all is artwork. We had a few changes here, but the good news is that we found a new artist! Please welcome Tabby aboard as our primary artist. She worked on the &Knuckles album earlier and we already saw some cool sketches for the Mana album artwork-in-progress. Can't wait! Also we have another new finished track; DS394 just handed in his finished remix of "Steel and Snare", and with its title "Steel and Wubz" it definitely delivers on the very interesting EDM promise. I think you'll love this track See y'all around deadline time in 2 weeks!
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    This was a rather fun little source. My sub is up.
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    It does definitely vary from genre to genre, and also background to background. For example, I have one remix posted on the site, and another in the evaluation queue. Both use live instruments almost exclusively. One is jazz, and the other is some other genre that I don't know how to classify. Jazz doesn't really sound right with samples, especially with wind instruments, so it tends to work better with live instruments. As for background, a lot of people on this site are hobbyists who learned music on their own. Using samples or synths is what they know really well, although there is a large number of rock/metal who use live guitar. Many people play guitar as a primary instrument. I'm a classically trained french horn player who also does jazz extensively, so I prefer live instruments because that's what I'm more "fluent" in. If you use what you have, and make it work, you'll fit in just fine!
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    Not quite cornered. There's a strong jazz presence and some "orchestral lite" (~4-8 live instrumentalists and/or vocalists). But for 100% live instruments, rock/metal is definitely the most popular supergenre.
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    Just received our first FINAL WAV for Lylat Legacy, @DS394's orchestral overture-style remix of SF64's Opening Theme! I've posted it to the WIP spreadsheet so folks can give it a listen. ---- I'd like to remind everyone that we still have four unclaimed tracks: Boss A (SF64 or SF SNES) Great Fox Theme (SF Assault) Boss C (SF64) Andross Still might turn Andross into a big collaboration if someone is willing to build the framework. Get your claim in now - WIPs will be required for claims after July 1st!
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    I definitely concur that a minority of tracks include even one live instrument--most are 100% synths and/or samples. But a substantial minority do include at least one live instrument, as well. That number goes up if you include vocals. I will add that we come down pretty hard on sequenced instruments when they lack humanization. You can go through old judges' decisions to see for yourself: when an instrument is lead or exposed, it's much more likely to get rejected when it sounds obviously fake. Being able to play lead violin and electric guitar yourself is a huge boon if you'd like to use those instruments--I think that as leads, those two instruments tend to trip up mixes the most when sampled.
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    Yes. Well... yes and no. @Thomas Neil wanted this to be an official OCR release in the same way as the other albums, which are distributed for free in electronic format online. If we had wanted to actually publish and distribute this album, I would have had to look at that from the very beginning; this would have involved talking to OC Records or another private / indie label. I haven't looked into it, but I imagine there's a bunch of extra work involved and a freaking HUGE cost, which I certainly can't handle myself. That being said, I will be getting my guy to do disc covers as well and @Etzaen has told me he's doing some character art that can be used as extra leaflet material, so you can print out all the material and make your own copy on a CD-R. It's not exactly PolyGram or WB, but you will at least be able to hold it in your hands. ME TOO. Let's get some of this awesome music finished so we have something to go platinum with!
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    An impressive (if somewhat predictable) rock take of the original. Your guitar tone has a good level of brightness to it, the distortion levels have a nice level of bite while keeping things clear and audible. Performance is solid. As the arrangement plays out things start off fairly conservatively, although we do see a number of licks presenting themselves over time to maintain freshness. Parts transition mostly well, although some feel too sudden (such as the break at 1:17). The panning used on the lead to alternate parts added a nice feeling of movement. Pace maintains fairly similar throughout most of the song, which for a duration of almost 3 minutes is a long time, especially at this tempo. One noticeable nitpick is the drums play the same pattern through almost the entire song - even the main fill that plays before transitions is very close, if not the same each time. In contrast to the real guitars they also felt somewhat robotic in their performance. This I felt detracted from the otherwise solid presentation here. Not enough in my opinion to hold this back, but more variation here really would've been nice. I also feel with the level of skill you display here, more risks could've been taken to depart from the source providing opportunity for more original material. Maybe next time. YES
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    Alrighty! I'll split this into a couple sections: first, video production tips! Audio quality is super important. Video quality is important too, of course: high resolution and framerate while recording will go a long way, as will nice-looking visual elements like overlays and end slates. But audio can make or break your LP channel. If your voice is hard to hear or your mic makes you unpleasant to listen to, a lot of people won't stick around. LPers kinda have to be low-level audiophiles. If you look at the most famous LPers out there, a lot of them have some impressive recording spaces for this very reason. If your hearing makes this difficult, see if you can get a hand from a friend who has an ear for audio! And always prioritize your voice over the in-game audio when editing/mixing in post! Being able to hear the game is important, but if viewers can't hear and understand you, then the whole experience falls apart. Practice being entertaining! Being a Let's Player is deceptively difficult, way more than most people assume. Talking and constantly being entertaining while also concentrating on the game you're playing is super hard. But being charismatic is maybe the single most important key to Let's Play success. Let's Play channels run on personality. Your viewers could easily play any of these games themselves, or watch any other YouTuber play them, but they came to your channel because they want to feel like they're hanging out with you. Being a Let's Player often means being an entertainer, even if you're not forcing a goofy or screechy persona. So keep practicing! Try to engage the facecam when you can. Don't go silent for too long unless it's appropriate for the moment in the game. Heck, take an improv class if you really want to pursue this stuff hardcore. This is a performance skill just like acting, so keep working that muscle. Analyze other Let's Players for ideas! Pick a few channels that you really like and want to emulate, and then carefully study their work. What sort of visual elements do they add? Are their videos long or short? Do they edit their videos to trim out the boring parts? How do they start each episode? What sort of info do they put at the end? Learn from those who are already succeeding in this scene. If you don't know how to do a thing they're doing, that's a perfect opportunity to start researching! The more stuff you learn how to do, the better you can make your own videos. Ok now for some general YouTube tips: Make your thumbnails eye-catching. You want them to entice. This is why you see so many channels using bright colors, starburst background patterns and faces featured prominently; it's the kind of stuff that catches the eye. Of course, also try to make the thumbnail give an accurate idea of what the video contains so people who are looking for your kind of content recognize that your video is what they were looking for. Featuring your own face isn't a bad idea, and featuring art/logos from the game you're playing is probably a good idea too. There's no secret to success here, just keep experimenting and improving your designs as you go. The more clicks you can draw, the more your channel will grow, so this is a pretty important component of each video's success. Release videos as regularly as possible. Daily, if you can. It allows you to become a daily part of your subscribers' lives, part of their routine. It's a great way to build and maintain a regular audience. Try playing new or popular releases now and then. When a game first comes out, lots of people are going to be eager to see that game played on YouTube and Twitch. Hopping on that train can be a great way to draw in some new viewers. Of course, you don't have to do that all the time. Again, personality is the real key to success; your regular viewers will likely enjoy seeing you play anything. But if you only play older games that you never got around to in your Steam queue, you may have a hard time building a large audience as quickly. There's no single shortcut to channel growth. Success on YouTube is equal parts luck and dedication. Release videos regularly, strive to make your content more and more entertaining, work to become a more charismatic personality. Doing cross-overs with other popular YouTubers can help, but it won't guarantee a fast-track to success. Sub 4 Subs almost certainly won't fast track you either. Your best bet is to just be dedicated, strive for quality and do what you can to stand out. And play to your strengths. Are you funny? Charismatic? Maybe you're an especially skilled player? Or maybe you have something else unique to bring to the table? The more you can stand out in a positive way as a personality, the better. I think my single biggest tip would be this: if being a professional YouTube personality is your goal, throw yourself into that shit. Trying to become a famous YouTube personality these days is like trying to be a famous rock star or famous hollywood actor. It's harder than ever: the scene is flooded now and extremely competitive. Success is far from guaranteed. All the famous streamers and Let's Players you see out there making a living doing this? They work their asses off. Easy as this career looks from the outside, it takes an enormous amount of time and dedication. So if you want that goal, commit yourself to it fully! Do everything you can to be the absolute best you can be. Study the platform, study your peers, watch your channel analytics and see what you can learn from the patterns. Try to make content that you'd want to watch. If you keep making great videos and releasing them consistently, the audience will slowly find you and the snowball will start rolling. Good luck!
  42. 2 likes
    I'm gonna have to sit out on this one. I've been rushing the last couple out so I'm gonna take some time to finish up other work and hopefully I'll be able to make something real good next time! I'll still vote this round though, no doubt about that.
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    Personally, I really doubt that the music from the game will be included; guarantee it was pricey enough just to license the characters and name from Konami. Plus, if this trailer is anything to go by, its ultra-serious tone doesn't really lend itself to the generally uplifting/rocking compositions from the game aside from maybe a title sequence — its score will probably be a lot more like Game of Thrones since apparently they've taken influence from GoT according to some articles I read.
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    awwww yeeeee Some words: King Knight vs. Ballade Dewey Newt: The orchestral score take is something I could imagine being played by a professional symphony, easily recognizable themes from both sources and nicely directed energy towards the end. Gario: I love the 95(?) bpm rhythm and patterns, also recognize parts of both themes - some of the synths are (kinda) simple but overall enjoyed it. Wandering Travelers vs. Uranus JohnStacy: You have found a better fit for the Uranus theme than I have. I say good job, I like the thickly colored take on both themes (and that sexy piano.) FIESTA! Specter Knight vs. Enker PlanarianHugger: I love the title, you definitely take the trophy for best named track in my book. This one mixed the high energy from both tracks into a pretty high energy arrangement itself. I think some of the transitions from theme to theme were a little sudden or harsh, but the appropriate switch-ups and direction in the rhythm section held it together. Starphoenix: Lots of cool effects and manipulation of both themes into what I believe would've been a coherent arrangement...had they been in the same key Shovel Knight vs. Venus (I feel like shovel knight is an overture of sorts for some other themes I've heard from the game hmm) Jorito: Combines both sources better than any track I've heard so far in this compo. So smooth, although I must admit I found the voice distracting. MegaDrive: I liked the funky take on themes, with some cool color provided by the celestial sounding thing. However, a bit repetitive.
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    I think he's calling all gaming format files "chiptunes", in this case. It's the wrong term, obviously, but that's what I gather from his post. NES has the .nsf files, Genesis has .vgm files, SNES has .spc, etc.. From a small search, it looks like the Gamecube equivalent would be the .hps or .adp file format, which does need a special plug-in for Winamp to read the files. I won't link any sites here (for questionable legality reasons), but do a quick search for "gamecube hps adp" and you'll find places to get your Gamecube native soundtracks and the necessary plug in for Winamp. Hope that helps.
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    If you are trying to encourage discussion on this, keep in mind that SF2 was halfway through localization before the project was canned. A lot of these are not errors, just placeholder names during translation. --- Taitania is likely the Japanese phonetic pronunciation of 'Titania.' (Ta-i-ta-ni-a) Fortune - well, I don't know what happened here. Probably a typo. Andorf - this is actually Andross' name in the Japanese version of SF. Coneria - also likely Japanese phonetic. (Ko-ne-ri-a)
  47. 2 likes
    I start with my brain and pen and paper mostly. That doesn't mean I start writing score from the get go, it means that I listen to the source track a few times, let that inspire me to get some ideas on what kind of style, genre, mood I want to achieve and I write those down on paper. In the next day or 2, I think about it some more and write some more stuff down. What I write down can be pretty broad, here's some stuff from a track I worked on a week ago: "vocal track. start slow with piano and vox. add strings. first part should be calm and reflective in minor key, second half should be more optimistic, higher speed in major key. use traditional verse-chorus structure. use accordeon in second half. add violin solo somewhere.". So basically it gives me a blueprint of ideas on what I want to do with the track, and in combination with the source material I can steal the melody from that and incorporate that into my blueprint. With that input I start the arrangement, usually in 1 or 2 iterations to get all the concepts and ideas down. Instruments in this phase are pretty rough usually, mostly ballpark of the kind of sounds I have in mind. Tweaking and polishing things a bit is next, that can be things like adding harmonies, fixing timings, choosing better instruments and humanising the performance. Last step for me is mixing and overall production. This is typically where my skills aren't as good and thus it takes the most time and self doubt As for your second question: I typically have a few tracks in progress most of the times (atm I count 8, yikes!). A good reason for that is that I like to collaborate with other people to get some live performances in, and that usually involves a lot of waiting for people to find time to record. I typically fill up that time with working on other/new tracks.
  48. 2 likes
    When i first started using a DAW i used to spend a solid month per remix/rearrangement getting everything together. I would load up an instrument, play around with it and if nothing came to mind, delete and load up something else. It's a fine way to experiment and discover new applications for the resources you have but I found that it tended to kill the spirit of what I was working on long before I finished it. To spit music out quickly it's a great idea to make a bare outline of what you want, break it down into music's three core components which are melody, harmony and rhythm, use a vst that runs light on you pc/mac and doesn't make the entire project so cumbersome that it discourages you from making simple changes. I treat most of my outlines as simple high school piano renditions of what i want and develop them from there. Usually I will also keep melodies and harmonies in separate midi tracks just for the extra layer of organization. After the outline is more or less done I develop the rest of the arrangement starting with the rhythm section and ending with the lead instruments. Keep in mind that writing (coming up with the piece of music), arranging(deciding what instruments should be used and how), and mixing(how the frequencies of everything fit together) were all once (and still are) separate skills to learn. Now the lines are blurring and everything is becoming more and more inclusive. Which is great but it means there is a lot of information that needs to be learned and you are going to be learning it all at the same time. Because of this, it's important to recognize that there are different skills that are needed depending on what phase you are at when writing a piece from start to finish. If the harmony doesn't create the proper mood for the melody, it doesn't matter how much compression you use on that cello sample that you have programmed as playing all up-bows, It's still not going to sound right. If you keep your outline as simple as possible then you can get your idea out much faster and with fewer obstacles. When artist makes an image, they don't worry about properly shadowing the reflection in the window just right when the rest of the canvas is still blank. They do a quick sketch of what it's supposed to be then spend significantly more time developing it. It's the same deal with music. Sort of went off there but hope it helps! I still remember well the frustrations i had when i first started working with a DAW but it all lead to me developing a process I can use as a base to approach anything i want to now.
  49. 2 likes
    Damn, now THIS is an intense track, and it just never stops. I checked the sources, and it does seem they're all there (arpeggio from PAST throughout, orchestra hits from BAD FUTURE, other background elements referring to PRESENT). It would take too long for a detailed breakdown, and I don't think this arrangement needs that - the source is very strong in this one, and the arrangement is very clever. The production is quite crisp, for most of the track. There are a few moments where everything comes in at once where the arrangement gets cluttered, making it a little difficult to parse every element out (such as at 3:41 - 5:52, for example). There aren't enough moments like that to take this below the bar, though. As far as the dissonance, any that I heard was handled properly throughout the track. Either it was inherent in the source and not clashing with other elements (such as at 2:22), or was used as a passing tone (like the backing lowered 2nd at 3:41). I thought they were fine. Cluttered mixing at some moments aside, this one was pretty damn amazing. YES
  50. 2 likes
    It seems to me that leveling the charge of bandwagon mourning is just as bandwagon as bandwagon mourning itself; when it comes to something like this, I think it's MUCH better to give people the benefit of the doubt... if you're wrong about someone else's grief or sense of loss, you're the douche of the decade, whereas if they're expressing disproportionate, uninformed, or insincere sadness, they're just being transiently emotional... Unless you're psychic, maybe just either empathize or be quietly skeptical?