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  1. 7 points
    Great news everyone! Jason Covenant has finally agreed to take the last track: Gilder's Theme! With this, every single track has been claimed and we are already mastering the finished tracks and as of this posting, 4 are completed and marked finished! We are well on our way of making this huge album a reality hopefully sometime later this year! Get excited Arcadia fans!
  2. 4 points
    DCT

    April Fool's Gold

    A joke? You mean I started all these Ice Cap remixes for nothing?!
  3. 3 points
    Mazedude

    April Fool's Gold

    I actually wrote an e-mail to DJP about the site crash. I was very concerned.
  4. 2 points
    Would anyone believe I've actually become a composer who's managed to grab a series of worthwhile gigs and absorbed enough commissions to kinda be sick of working on music? I know I don't. A decade and a half of putting in tens of thousands of hours behind a DAW has been yielding some returns and I've reached heights no one should take for granted. From my vantage point, I thought I would like to share some of the less-talked-about things I see from this elevation that could be useful advice to newer composers or even some older ones. In no particular order, here we go: 1. There is no recipe or gimmick for success. If there was, we'd all know it and use it by now. It's all pretty much random. All you can do is get creative with your ideas and execute them with the best audio quality you can. 2. Only upgrade your sound and studio if you can't produce quality work with what you've got anymore. You don't need 18 orchestral symphony libraries to make a quality orchestral track or soundtrack, you don't need the latest version of this or that for everything, you don't need loads of hardware just to pretend you're staying current. Master what you have before you start thinking you need to spend $$$ on more shit. 3. Synth nerds are the worst people to get hardware advice from. Sorry, but it's true. Nothing is ever as good as the best there was from the 1970s or 1980s, and therefore nothing is ever worthwhile enough. If you have your eye on a keyboard or hardware item, listen to it, think on it for a while, think on it, think on it for a long time and decide if it's really for you or not. No one else can decide that for you, you have to decide that for yourself. 4. Doing a bunch of songs at the same time and in stages is better than trying to knock out one song at a time. This is because you need a break from audio both to give your ears a rest and also to let your judgment become less biased. While doing a song, there are the stages of beginning it, working on it and finalizing it. You get into these stages naturally, and it is surprisingly easier to do these stages with multiple songs than just one. 5. To expand on #4, after a few years of experience in finishing and finalizing tracks, you start learning a skill for a music ear that can hear where your songs are supposed to go, rather than where they go now. It's almost a 6th sense in a way - you start hearing and expecting it to go this way when where you actually have it going is wrong. You can also hear what ISN'T there and what needs to be there. It's kinda freaky, really. 6. Some people try to write and arrange a track starting with the melody and designing everything around it. This is dumb. Building a song is like building a house - you start from the ground up (drums and bass), then the walls and body of the house (chords and arps and accompaniment), and then the roof (usually the melody). Doing it with the melody first is like putting the furniture in a field in a certain way and designing the house around all that. 7. Rely on as few people for your songs and projects at any given time as possible. Other people have lives and crises, too, and you would be better off doing or learning to do things you need yourself than hope their timeframes work out for you. 8. All business success requires risk to fuel it, however not all risk is the same. Being smart and meticulously deciding where your money is best to go and getting clever and resourceful with your situation could still create the concoction that provides success without putting you in danger. 9. "Value" or "reward" for your audio work is not always money. This is a VERY controversial and unpopular opinion, and there are good reasons for that, but the fact remains those who only consider value and reward to be coin or cash will find it much harder to navigate throguh business success here. 10. Even if you hate loops products, many are worth getting anyway for a variety of reasons. One of the best is that they often come with MIDI files that can be an excellent teacher for how to humanize notes in a DAW. 11. No one doing indie games has $300.00 per audio minute. Success from the indie game sector comes more by showcasing artistic achievement through its humble roots, not trying to do what AAA game studios are already doing. Know this, accept this, and use it to your advantage while builsing up a career in game audio. 12. The more artistic a person is, the less skill they have for conventional thinking ideas in audio like how business really works, humility, common sense and even at times common decency to others. This is not a guaranteed exclusion, but the "artist's brain" phenomenon really does seem to be true. 13. You can work on next to no music for years and years and suddenly be chosen for a big project seeming for no reason. Don't question it too much, just give thanks to the god or powers you believe in and do it. 14. Don't count on tempo-sync'd loops and samples to work correctly. Many do, but many also do not for whatever reasons. It's better to just get a BPM that works innately for the samples' speed you want to use. 15. Every composer, sooner or later, does work for free, undercuts a friend/competitor for a job. If they say they don't, they are most likely lying. Also, every composer eventually pirates stuff as well. 16. It doesn't matter what tricks you need to do to get a track done (just don't use illegal samples!), just get it done somehow. Arranging and recording music is supposed to be that difficult. 17. Have a Plan B and Plan C for all music you're working on, as it's incredibly easy for that music to not go used or be cout out somewhere else. 18. Don't worry if you use a loop or phrase or sound that's been used ad nauseum or something. It turns out the niche for LIKING recognizable sounds is bigger than we though. 19. Uploading MIDIs from Valkyrie Profile, Secret of Mana, Star Ocean 2, Final Fantasy VI, Super Mario 64, Final Fantasy Tactics and some of Tim Follin's work to your DAW and studying them will teach you pretty much everything you need to know about doing game audio. 20. When approaching someone for possible music work, be bright and cheery, but don't be desperate. Act like a seasoned professional, even if you aren't, and use a tone that says "I can do this work, but I don't need this work." Talk in length about the fine details of how you do things and how this works whether they might understand it or not, as it creates for you an air that the client thinks "Hmm, this guy knows his business." and helps keep it so the client respects you enough not to take advantage of you. If they leave soon after you establish this light bit of dominance in the conversation, then it wasn't meant to be. These things are obviously not objective, and they are subject to much scrutiny and debate themselves, but potentially useful stuff I'd like to impart all the same.
  5. 2 points
    Direct Download: https://ia601508.us.archive.org/1/items/OCPLCreditsMusic/OCPL%20Credits%20Music.mp3 This is the OverClocked PlayList, a collection of listener-submitted recommendations so we can all discover music together! This week’s theme is: Credits Music Secret Songs Stephen Bryan The Playlist: Credits Music Isn’t It Wonderful? (Orchestral Version) - Final Fantasy X (Jorito) Katamari of Love - Katamari Damacy (FenixDown) Shattered Departure - Originally from Sonic the Hedgehog 2, ReMixed by VizardJeffhog (Black_Droom) Primal Light - Guilty Gear X2 (Carlos) A Kid-pella - Originally from Bastion, ReMixed by Square Law (Patchpen) Staff Roll - Super Mario 64 (Stalky) Rise from the Ashes - Originally from Phoenix Wright: Ace Attorney, ReMixed by Turnabout Jazz Soul (SquarEvil) Wishing on a Shooting Star - Mega Man Battle Network Legacy: Resonant Transmissions (timaeus222) Credits - AM2R (JosephG) Staff Roll - The Legend of Zelda: Skyward Sword (Luigi) Staff Roll - The Legend of Zelda: Wind Waker HD (Sothen) Credits - Fez (Jezzon) Credits - Pokemon Crystal (harpsona) With the Stars and Us - Persona 5 (Flurry of Flames) Let’s Dance, Boys! - Bayonetta (Rexy) Moving On - Street Fighter III (Liontamer) Bumper music: Late Night Sneakin' - HappyBivouac Jet Set Groove #3 - Hideki Naganuma S.E. Tape - SEGA Oldies But Happies - Hideki Naganuma The Concept of Love - Hideki Naganuma Like It Like This Like That - Hideki Naganuma S.E. System01 - SEGA Extra info: Twitter: @OCRpodcast Bryan: @LordMeldorr Stephen: @StephenKelly180 Discord: https://discord.gg/KJfvAuF Email: podcast@ocremix.org YouTube: https://www.youtube.com/user/ocremix Google Play: https://play.google.com/music/listen#/ps/Ivb42azxllrsxwg7zavtptcho2i iTunes: https://itunes.apple.com/us/podcast/overclocked-podcast/id1057063792?mt=2 Stitcher: http://www.stitcher.com/podcast/overclocked-podcast RSS: https://feeds.feedburner.com/OverclockedPodcast OverClocked ReMix is dedicated to the appreciation and promotion of video game music as an art form. Learn more at http://ocremix.org/info/About_Us! View the full article
  6. 2 points
    HAHA! This mix is so weird, so creative, so eclectic, and is everything I love about VGM and remixing. Bravo!
  7. 2 points
    Hey all! Just wanted to plug my first ever original album. You guys are probably more familiar with my remixes and arrangement work here, but I have actually been writing original music for almost 20 years. The album is called Sound the Clarion Call: A Musical Tribute to 1001 Knights. You can pick it up on OverClocked Records for $3.99! This album is inspired by the 1001 Knights art anthology that was Kickstarted about two years ago. It's a set of three hardcover books with beautiful artwork of different kinds of knights. I was hired to write the trailer music for it and ended up putting together a full album. If you've ever enjoyed my remixes before, give this album a shot. It's a mix of new age, jazz, and classic SNES sounds. Hope you enjoy it. Here's the fourth track from the album, The Accumulation of Knowledge.
  8. 2 points
    I wish I could say we're releasing tomorrow. Nope, not quite there yet. We're working closely with ocr staff to finally get this thing finished. Trailer's been shown at a panel. Audio is just some track length/silence edits and tagging from being done. It's close, but not quite tomorow.
  9. 2 points
    This is the one point I will disagree with you on. Maybe in certain genres starting with something else works, but most music is composed melody first. Actually, starting with a chord is still technically melody first. Great example being that the very basis of part-writing, and how harmony came to be understood today, is by playing multiple melodies at the same time. That's all a chord really is: Different melody lines moving homorhythmically. Pretty much everyone from Bach to John Williams started with a great theme or motif, and harmonized it from there. Not to plug my own shit, but I literally just posted a track for critique over in the Original Music forum before reading this. I started with all the melodies, and built from there. To my ears, it turned out cohesive. So I'd agree that building a piece of music is like building a house, but I'd disagree that the melody shouldn't be the foundation. EDIT: Points 7, 8, 12, and 20 are very, very good points.
  10. 2 points
    Excellent stuff here!! I admit that I am one of the heathens that isn't familiar with the source (though I'm liking the description), but I don't think you need to know the source at all to be caught up in all the goodness of this remix. I really enjoy the transitions here (such as 1:25-1:35) and the solo sections are arresting (particularly 3:10+ is bananas!). But my favorite thing of this remix is the way the heavier guitar mixes with the quieter throughline. It gives a real feel of depth and touch and allows this piece to shine beyond just having some nice sections. Special props for the 5:05+ quieting finish - the perfect way to go out, in my opinion! A surprise gem here!
  11. 2 points
    Direct Download: https://ia601505.us.archive.org/11/items/OCPC83/OCPC%2083.mp3 This is the OverClocked PodCast, a weekly dive into the world of video game music brought to you by OCReMix.org! This week we wander the soundscape of Sole with developer Tom Sharpe and composer Nabeel Ansari, conclude The Big Ones with a REALLY big one, and slow down our busy lives to hear a Playlist of ambient music. Next Week's Playlist: Credits Music ReMix ReWind Cannon Straits - Cannon Fodder (fredrikd) The First Look at Gold - The Legend of Zelda (RebeccaETripp) The Jazzy Cosmos - Sonic CD (GCJ) Late in the Caribbean - The Secret of Monkey Island (Rozovian) Looser Tool - Lunar Pool (Harmsing) The Call from the Mine - Final Fantasy VII (Bluelighter) The Champion of Hyrule - The Legend of Zelda: Breath of the Wild (RoeTaKa) Welcome Goombo Probably - Super Mario Land (Suzumebachi) Feastal Procession - Front Mission: Gun Hazard (Gaius Christianius Canorus) Memory: Night - Super Paper Mario (AJ DiSpirito) Dance Like Popcorn - Maui Mallard in Cold Shadow (Guifrog) Legends Around the Fire - The Elder Scrolls V: Skyrim (RebeccaETripp) Burning the Clocktower - Castlevania: Dracula X (Gario) Interview with Nabeel and Tom Music from Sole The Playlist: Ambient Music The Crystal Key is Broken - Originally from Donkey Kong Country 3, ReMixed by Theophany (Black_Doom) The Owl and the Penguin - Elemant4l (Stalky) Moog City - Minecraft Volume Alpha (Patchpen) Forest Temple - The Legend of Zelda: Ocarina of Time (Luigi) Theme - Tangledeep (timaeus222) Main Theme - Mass Effect Andromeda (Jorito) PotatOS Lament - Portal 2 (Jack) Ghosts of the Past - Thomas Was Alone (PlanarianHugger) Tanaris (Night) - World of Warcraft (Sothen) Lost Ship - FTL (JosephG) Bumper music: Late Night Sneakin' - HappyBivouac Jet Set Groove #3 - Hideki Naganuma S.E. Tape - SEGA Oldies But Happies - Hideki Naganuma The Concept of Love - Hideki Naganuma Like It Like This Like That - Hideki Naganuma S.E. System01 - SEGA Extra info: Twitter: @OCRpodcast Bryan: @LordMeldorr Stephen: @StephenKelly180 Nabeel: @_nabeelansari_ Discord: https://discord.gg/KJfvAuF Email: podcast@ocremix.org YouTube: https://www.youtube.com/user/ocremix Google Play: https://play.google.com/music/listen#/ps/Ivb42azxllrsxwg7zavtptcho2i iTunes: https://itunes.apple.com/us/podcast/overclocked-podcast/id1057063792?mt=2 Stitcher: http://www.stitcher.com/podcast/overclocked-podcast RSS: https://feeds.feedburner.com/OverclockedPodcast OverClocked ReMix is dedicated to the appreciation and promotion of video game music as an art form. Learn more at http://ocremix.org/info/About_Us! View the full article
  12. 2 points
    Cosmic Prism

    April Fool's Gold

    I literally was about to post this topic "(OC Remix Home Page Error) Red Russian Language". Then I decided "Well, hmm, it might be helpful if people knew what it said." And that's when the glory of the best joke of 2018 fully hit me xD. Kudos *golf claps*. "Сначала мы взяли ваши выборы, теперь мы пришли за вашими ремиксы видео игр." "First we took your election, now we came for your remixes of video games."
  13. 2 points
    Ok lets examine these claims. How are the melodies boring? From my perspective, they're pretty catchy imo, they certainly stick in my head. The guitar work, if you analyse it is a lot more than just guitar chords like you suggested, there are lots of cool little melodies thrown in there. Its a lot more creative than a lot of backing guitar work imo, and the solos are pretty neat too. Not sure why you're comparing them to megadeth either, megadeth are thrash, and Dave Mustine is known for having some of the most crazy and intricrite lead and rhythm playing of all time, he's a complete monster, and don't get me started on their bassist Dave Ellefson, who does some completely insane stuff. Its like looking at a painting and going "its not as detailed as Leonardo Da Vinci's work, therefore, it must be worthless" So... tempo.... The majority of the sonic songs i've heard are around the 160-200 mark? Thats pretty fast honestly. What is your definition of slow exactly? For me, Hotel California is slow. Sweet Home Alabama is slow. Sonic heroes main theme and escape to the city are pretty damn speedy, and open your heart and live and learn are upbeat romps. I'd hardly call sonic music slow, in fact when I think of modern day sonic music, I automatically think of pretty fast, frantic pop rock so I STRONGLY disagree with you there. Also, you're talking about the quality of music when it is a completely subjective thing. Simple does not mean boring. It might mean boring to YOU but some people like that. Some people find megadeth too fast, too aggressive, with hard to follow arrangements and weird change ups that don't make a lot of sense to them. Some people find that really refreshing. Led Zeppelin are one of the greatest bands of all time - I consider their music boring sometimes. They can make some amazingly intricate and amazing compositions... then some of their songs have 1 bar long riffs that repeat endlessly, but sometimes thats the point - its about mood, its about feel, its not about musical complexity - thats why 4 on the floor beats are so popular in clubs, because it is easy to dance and groove to it. I think thats why Led Zeppelin are so special, they had something for everyone while keeping to a very cohesive and identifiable sound. I don't want to sound patronising but you need to stop thinking about music as good vs bad and try to understand why someone else might enjoy it. Just because you personally don't like something doesn't make it completely worthless, or "bad".
  14. 2 points
    Dextastic

    MnP 90: Metroid - Brinstar

    Congrats all. Thanks for the bonus mix, satoka. I think a few of the faster note runs are getting lost (due to the sample articulations having a slow attack?) but other than that it sounds pretty nice and epic.
  15. 2 points
    Sup folks! I'll be joining Cris Velasco, Tom Salta, Kris Maddigan and Darren Korb on a panel at PAX East this Saturday. I've never been to a PAX East before but apparently there's a MAG-style jamspace there too, I might hop in with Drumultima if he can stand my crappy flute playing more than once per year Anyone else attending PAX East this year?
  16. 2 points
    Patrick Burns

    April Fool's Gold

    Proves there was no collusion
  17. 2 points
    Esperado

    April Fool's Gold

    Wow this one totally got me! Kudos to whomever thought of this
  18. 2 points
    Are you using reference tracks when you're mixing? If you don't know what that is, a "reference track" is just a song you like the sound of, in a similar genre, that was professionally produced. The idea is that you should switch back and forth between listening to your mix and the reference track constantly when you're mixing to help you get your sound and EQ balance closer to that of the reference track. If you don't do that (and you only listen to your own mix while mixing), eventually your ears will start to deceive you into thinking your mix sounds good, just because your brain has gotten used to it, even though it would sound terrible to you if you were listening to it fresh. FWIW, and I didn't listen too carefully, I liked the one called "Latest Edit" better.
  19. 2 points
    Well, to be frank, my first criticism is that it is too dang short! The opening hooked me in like pre-battle banter and readily gave way for a brief yet intense rendition. There must be more! It feels like the start of a six minute song, which I would already be interested in sitting through, based on the fifty seconds I got. Please do continue this.
  20. 2 points
    I remember this from the album eval, and my commentary is pretty close to the same as before: the arrangement suffers from having a density/business to it that gets stale over time, but the instruments are always changing so I can't quite say the arrangement gets 'static'. There's just no place for the ears to rest for a moment and appreciate what's going on, is all. For some reason there's a bit of a focus on the left ear, as well - more instruments seem to fill that side than on the right side. Neither of these are crushing issues, though - just a bit tiring for the former issue and a bit distracting for the latter, once you notice it. The arrangement itself is certainly all there, and I can't complain with the production quality. Great work - it's certainly a solid addition to the SoM album! YES
  21. 2 points
    The mix feels super busy right off the start. Not the cleanest production here, but it doesn't completely break down. Loved the arrangement and those short time signature change breaks. Also any vocoding is a plus for me. I think this song could've used a break somewhere, it's too busy ALL the time, and it gets very tiresome towards the end. Even a 15 second section where things calmed down would've improved the listening experience tremendously. I need to mull over this, as I'm borderline right now. I'll finish my vote later.
  22. 2 points
    Quite a busy track here, things kick off fairly suddenly with guitar and brass riffing. The groove developed over the course of the first minute of the track was gradual and well executed. 1:24’s vocoder break was great and unexpected. The subsequent synth solo and organ afterwards were a cute addition. 2:47 presents us with another solo, and a short vocoder section closes us out. The song feels like it crams in a large amount of content for the tidy duration. A couple thoughts after listening - while things were quite busy through the course of the mix, there wasn’t really ever a time where the soundscape was too full, which is a testament to good mixing. A slightly more developed intro and outro would have been to the track’s benefit, as I feel things started and ended a little too quickly. I also felt that while the source was there, it would’ve been good to have thrown in some verbatim use of the main melody as opposed to the faster more embellished version found here. Otherwise, solid job. YES
  23. 2 points
    I was not expecting such an energetic and unique take here, and I actually had to take a moment to adjust. Nice work on pulling off such a radically different (and fun!) take on this source. I do think the second half suffers from being over-cluttered, but I was able to hear the main parts clearly enough and it doesn't bring it even close to a NO. Hopefully someone can confirm our correct, but I think this source was the one that Kikuta said was his favorite when he was asked (by me!) at the Otakon Q&A years ago. Fun times and this mix is lovely. YES
  24. 2 points
    This arrangement is certainly a lot of genre-defying fun, just what one would expect from these two. There are a few production oddities. The brass conflicts with a few of the other instruments, the robo-voice especially. There are some strange dips in volume periodically, making it sound like the track is starting to fade out just for a second before coming back in. This especially stands out because the arrangement is overall lacking in dynamic variation--there aren't any gaps, breakdowns, or any other breaks to prevent auditory fatigue from setting in--so those small volume changes are more pronounced. I don't think either is a dealbreaking issue, though. This is still clever and fun, and the production is more than adequate. We'd need lyrics before posting this, of course, but otherwise I see no reason not to. YES
  25. 1 point
  26. 1 point
    evktalo

    One Must Fall 2064 (title theme)

    New version: https://www.dropbox.com/s/us3m4b7ph6wqd1w/OneMustFall2064-20180418.mp3?dl=0
  27. 1 point
    Any news? Is there at least a vague release date?
  28. 1 point
    Sorry for the double post, but there is a goldmine of good discussion that can create a thread just from this point alone. You and I discussed a similar topic last year via PM. I've gotten in a number of fights now, with bigwig composers drilling this shit into the heads of n00bs (and I was at one time among them) that charging anything less than a 3-digit figure per minute is "devaluing the industry" even though Danny Elfman — Danny fucking Elfman — lowers his prices to $1 USD in exchange for keeping the rights to his music at least once per year on an indie film. Yet, they expect everyone to believe that a kid scoring a crappy college film or indie game for nothing is undercutting the business. Despite that it's business as usual considering Danny Elfman's tradition. It's like everyone working on this game is doing it out of a labour of love and to get experience. The artists, the programmers, etc. But not the composer! No, the composer is special! On that note, I have actually had one composer, quite successful and used to be married to a famous actress, tell me that composers are "criminally underpaid" even if their paycheck amounts to millions because "actors make more". It's like, holy shit dude...Tom Cruise risks certain death to promote his films as do stunt people (who get no recognition from the industry btw) and you expect me to agree that the composer deserves the same pay rate? Most of these composers don't understand the concept of consumer buying power. You can't expect that a bunch of college students or whatever are going to be able to pay you Hollywood rates. And guess what? It isn't you who gets to decide you're worth the big bucks; it's the people with the big bucks who do. It's actually the hardest pill to swallow in this life: That we don't get to decide our value to other people.
  29. 1 point
    Arman

    SoundCloud or YouTube?

    One major issue with Soundcloud is their mobile app. If you listened to your own music on the mobile app, the quality is horrible compared to the Soundcloud on your desktop or laptop. It fools you into believing that there is something wrong with the mastering. You will hear clicks and pops. Makes sharing your music over the aux at a party or friend's place humiliating. Especially if said friends are familiar with audio mastering. Youtube's mobile app does not suffer the same issue.
  30. 1 point
    Not familiar with the original, but oh my cthulhu this sounds gorgeous.
  31. 1 point
    Very cool! I think I'll stick to Maple Treeway though if I get time for a quick remix.
  32. 1 point
    The People's Remix Competition 371 PRCv15-07 Hello everyone and Welcome to the People's Remix Competition! In PRC369 it was FreakyT who submitted a bonus song. The victory was for PlanarianHugger by default. PRC is currently not in his best days, but there's always hope for better times. Source: Sonic the Fighters - Tails Theme (Arcade) MIDI 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 Friday April 13th 2018 at 9:59 am 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. Note that his is one hour less the last rounds. 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 PRC373, the round after next round. The winner of PRC369 who picked this source, PlanarianHugger, 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!
  33. 1 point
    Master Mi

    SoundCloud or YouTube?

    I prefer Youtube because of the better audio streaming quality (audio streaming bitrate of 128 kbit/s at Soundcloud vs 192 kbit/s at Youtube can make a noticeable difference in sound quality) and the possibility of underlining the audio material with some fitting video material (own gameplay scenes of video games for video game remixes, for example).
  34. 1 point
    Is this an either or? Or we have to mix them together?
  35. 1 point
    City escape is about 260 bpm, I checked. Seriously, take the original file and put a metronome over it. Its much faster than the track you linked there so... I will agree that catchy doesn't inherently mean good. To take a song everyone seems to unanimously hate - Friday by Rebecca Black - that could be considered catchy I reckon. It certainly sticks in the brain and makes it rot. I'd like to point out something you said earlier: Seems to me you're pretty much stating pop punk, Crush 40 and well... a LOT of music is bad. Saying something is "down right horrible" usually means "bad" in my experience. As for you voicing your opinion, you seem to be going a bit beyond that - For example, I'm not sure what you mean by statistics. Who's statistics are you talking about? What is it based on? Subjective opinion? Who's opinion? Yours? Are you saying that you think most music is bad or have you read something and believe it? This is where I I question if it is your "opinion" because you seem to be talking about something beyond that. You're talking like you did some research and found out that in fact, these songs are objectively bad, and we're all wrong for liking it. Maybe i'm overthinking what you're saying but that is how you're coming across to me, reading your posts.
  36. 1 point
    I feel bad for anyone who thinks Crash 40's Sonic music is bad.
  37. 1 point
    satoka-eldon

    MnP 90: Metroid - Brinstar

    You're right - it's to do with the attack speed. I really need to investigate how to improve quickly articulated strings - not the first time I've had this problem! Thanks for having a listen
  38. 1 point
    Audiomancer

    Anger

    I'm using LMMS. It's free, and I don't know if others do this, but it allows me to directly use SoundFonts, and I don't have to worry about bank switching. Some soundfonts are put together differently than others, and my noob self can't figure out how to use them correctly with proper notation software. LMMS is a step sequencer, and I'm still getting used to using that, instead of something like Sibeleus or Musescore. It's a learning experience that I have honestly enjoyed:)
  39. 1 point
    Audiomancer

    Anger

    Ha! This is something I did quite a while ago, and when I was listening to it, I thought to myself, "Hmm, I think I noticed some similarities with the DW piece I've been working on;) I noticed the lack of discernible articulation as well...I wonder what my thought was on that, why my articulation was so faint, or if somehow I "produced" it out of the music...I don't know how/why I would have done that. The whole accompaniment was just a Roland keyboard MIDI interfaced with notation software (including the middle section), then recorded and played along with. I was, and still very much am, new to the arranging and production of music. I had a few years where I wasn't doing really anything musical at all, and now I'm getting back into it. I'm really enjoying trial and erroring my way through the using of digital audio software:) Thanks for the comment!
  40. 1 point
    Hi everyone; newest remix here. I've tried to make the strings sound a bit more natural in this one, hence the hiatus in trying to get it just right, but aside from the sound, I devoted this piece to exploring and developing only a couple of thematic ideals; primarily Zelda's Lullaby. It's a Fantasia for Full Orchestra and Chorus, which contains material from a few of the Game Soundtracks in the LoZ series. I explored the different ways the Lullaby could be orchestrated and manipulated in terms of mood, timbre and contrapuntal manipulation, not just on its own, but with other themes closely associated to Zelda, most plainly in the central part, focussing on the endless relationship between Zelda, Link, and Ganondorf/Ganon throughout the whole series, and finally culminating, through its triumphant ending, the ultimate victory of good.
  41. 1 point
    My remake of Hateno Village from Zelda: Breath of the Wild, with just a touch of Kakariko Village and Zelda's Theme added in.
  42. 1 point
    Grand, faithful, yet innovative. I rather enjoy how the timbres reminisce the feel of the N64 while still having a distinctly fresh feeling. Its something like a condensed adventure through the rambunctious isle of the apes. It'll find a welcome place on my play lists!
  43. 1 point
    Wow, this is just wonderful. This takes what is already a nice, interesting piece and makes it into a practical suite. The handling of 1:05-2:32 has such power, and then 2:33 on changes it into such an amazing, delicate touch! In short, this really explores the piece and delivers a top-notch handling of a less common piece. I'm really, really impressed by the quality of the remix here - well done!!
  44. 1 point
    I'm going to change the tag on this to "complete," since xprtnovice declared it ready to sub, but I think all three of us are of the opinion that there are still minor tweaks that could improve the mix; feel free to continue tweaking and posting updates, or go ahead and sub it to the judges. Best of luck!
  45. 1 point
    I looked up how LMMS works and it's similar to what I'm used to. You should use the FX mixer for your reverb instead of putting one on all your tracks seperately. Send the signal of the tracks that need reverb to an FX channel that has the reverb on it. That should let you then eq the reverb FX channel so that the reverb is cleaner for all the tracks you're sending to it. Probably not explaining that well but hopefully you understand.
  46. 1 point
    Bowlerhat

    OCR03704 - Lunar Pool "Looser Tool"

    Oh man, this is fantastic! I love it so much. Great bass and drum writing, and there's some cool harmony going on. I don't know the source, but I definitely love the remix.
  47. 1 point
    This sounds nice:) What kind of instrument are you playing on, if I might ask?
  48. 1 point
    You sure picked something obscure to remix here! I have no familiarity with the source but still I can still really dig the Sultans of Swing vibe. I really like it!
  49. 1 point
    DarkEco

    Video Game Addiction

    I can't absorb myself in long gaming sessions anymore because I start to feel guilty and anxious about not doing other things. Even if I've sat at my desk and worked for 12 hours I find it really hard to relax in the evenings. Part of me thinks it's because I don't actually want to play games as much in my free time, but i'm so used to seeing it as the only option that I feel obligated to do it out of habit. Heck, if i'm honest they feel like work now in a lot of ways. I've been wanting to get back into Terraria for months but every time I open it I feel overwhelmed about the amount of work it would take to build something cool. Same with Skyrim. Additionally, with the speed games are released these days I feel more pressure to play often so I can actually feel that sensation of knowing a game inside out like I did when I was younger, because to me that was the difference between just playing a game and loving a game. It was so much easier when I would get a game maybe once every 6 months and completely master it because of the multiple playthroughs I would have to do. Nowadays it feels more like a race to just finish the games that are being spat out every week. To remedy things I've started only buying games that I believe will offer me a valuable experience and preferably has a start and an end. I'm putting a serious dampener on games like Fallout that could potentially go on forever, and I've pretty much quit Guild Wars 2, Warframe and anything that has a grind factor like that (though I will get Monster Hunter World because I love the series. To scratch the online competitive itch I play Atlas Reactor, because it's a quick 15-20min game I can play in work breaks on my laptop with little commitment. Forcing myself to reduce the gaming scope has opened up some time for things like reading, which is nice.
  50. 1 point
    All right, so I'm going directly to the updated version. The arrangement is super fun, and I love the sound design! There's a lot of variety in the sound palette, and everything works together really well. The sine synth melodies backing the main theme is really an awesome touch, I wasn't expecting that at all. It's a nice contrast with all the nasty, gritty sounds in there. The guitar work is also great and definitely contributes in making this even more badass. 2:14-2:28 has quite a generous amount of mud and things seem to get lost. The issue seems pretty specific to that section, and no other part of the track seemed to be off on the mixing, so it's not a dealbreaker. Awesome track! YES