Patrick Burns

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About Patrick Burns

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    Bad Dude (+400)

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  1. nuff said. I was at a workshop put on by one of my favorite guitarists years ago. someone raised their hand and asked, "how do I get noticed?" His response: "get good."
  2. Wot in tarnation... That's awesome. I've been very into FJM since being exposed to him through KEXP a couple years back. Was Just listening to him today, in fact, and am anticipating the new album. How did this come about for you?
  3. Nice! Checks out... (with an extra turnaround)
  4. Decades ago jazz musicians began circulating a 'book'... a sort of underground compendium of the chords/melodies/lyrics to lots of jazz standards. It was organically assembled and shared over time, with no single definitive version sold by anyone. (I guess it was an inevitable product of the invention of the photocopier.) Today, though, publishing companies have gotten on board, done the legwork to get publishing licenses, and offered "Real books" for sale... Personally, I think the internet makes a lot of the impetus for a Real Book obsolete, but it's a nice thought... I mean, I'd be happy to see a VG Real Book (OCRealbook?!) on my bookshelf, but I'd probably rarely open it, ha! ...or would I? But honestly, unless one of a few people just did the huge task of making it by themselves, I just see lots of potential for song selection and notation arguments.
  5. A vg realbook is an interesting thought experiment... but here's my imaginary set list / jam list... Zelda - Great Fairy's theme (how could you open with anything else?) Metroid (NES) - Brinstar (letting them know you're the OG) Mega Man - Snakeman (push that opening energy) CT - Millenial Fair (feels good mane) CT - Secret of the Forest (take a breath, learn some forest secrets) Zelda - Song of Storms (everyone's drunk on forest secrets, touch them inappropriately with zelda) Earthbound - Onett (there's the sunshine again) Sonic - Green Hill Zone (crowd pleaser) Sonic 2 - Chemical Plant (because you've got the chops, and ice cap is too short) Super Metroid - Lower Brinstar (darkness brooding again) Super Metroid - Lower Norfair (rock. and. roll.) Yoshi's Island - Underground (we're safe now, extended jam time) Mario 64 - Dire Dire Docks (rising back to the surface with some melody) Super Mario Word - Overworld (because NES 1-1 is too cliched at this point) DK - Stickerbush Symphony (a cheer goes up from the crowd) CT - Corridors of Time (of course) Zelda - Darkworld (the crowd wonders when the show will end, but they don't mind because zelda) Kirby's Adventure - Butter Buildings (seriously when is this going to stop, ooooh shiny!) DK - Aquatic Ambiance (crowd forgets their evening plans and decides to follow you anywhere) Final Fantasy - Prelude (misc FF suite so you don't get shanked after leaving the stage) Final Fantasy III - Altar Room Final Fantasy IX - You're Not Alone Final Fantasy any - Chocobo Final Fantasy VI - The Decisive Battle Final Fantasy VI - Terra (bring them to their knees with your sweet overdriven nectar of life, walk off the stage) CT - 600 AD (encore, let the tears flow)
  6. Clever transition between themes, Andrew. I never consciously noticed how the Sub-C Map theme was sort of a variation on the B section of the Overworld theme. In fact, it may be better to say that that part of the Overworld theme is just a little preview of the Sub-C Map... which maybe is why getting into Sub-C always felt so much like home-base in-game... like you were really moving forward with the heart of the story when you got into Sub-C, at least to me. Good times they were, playing this game with my big sister. And the accordion lead situation was good.
  7. ReMixer has jar of peanut butter, has jar of jelly. OCR wants to be a cool guy. There's bread laying around... OCR asks for jars of peanut butter and jelly. Uses bread. OCR makes yummy PB&J, cuts it in half. OCR Gives half to ReMixer and half to Remixer's best friend, Listener. Sandwiches are good, ReMixer and Listener happy. OCR doesn't eat, but OCR is happy too. The bread runs out. Listener has extra bread. OCRemix allows listener to continue eating sandwiches... ...but asks listener to first contribute a slice of bread before each sandwich. ReMixer sees OCR using his peanut butter and jelly as bargaining chip in order to acquire bread. ReMixer accuses OCR of taking advantage of ReMixer's tasty spreadables for personal bread collection OCR is sad. OCR eventually asks ReMixer how they should keep make sandwiches...
  8. You would be right, if you consider OCR's YouTube channel as merely a glorified file hosting service. You are missing a lot of the equation if you see it as that. OCR faces two directions. In one direction, it provides a brand across different platforms to which listeners can reliably return for certain kinds of music---more reliably than searching for all those content providers individually. In the other direction, it provides musicians a platform to have their labors of love heard by a larger audience and to receive greater feedback and even instruction. Furthermore, it does all this in such a way as to help shield this gathering under the umbrella of fair use. None of those arms of OCR work without the other arms. You can't arbitrarily divorce the YouTube channel apart from it because the YouTube channel would die without the essential functions of the rest of the OCR organism which requires a lot of work to maintain.
  9. People subscribe to OCR's social media for the same reason they subscribe to anything---the perception that there's reliable quality/relevance being produced. All of those things I listed--all the peripheral work--enable OCR to have that reputation, and enable their relative success on social media compared to our individual efforts as remixers. In the past I've had certain songs on my own channels for years, and they don't get the same visibility that OCR gets in a few hours---on the same platform. So of course OCR provides benefit on YouTube, to bother remixers and listeners. Regarding operating costs---my message was to point out that operating costs are not the only work going into OCR. (Which is why I'm not sure what you're trying to argue by pointing out that those things I listed are not "operating costs"---that's what I thought I was explaining to you.) You seemed to be arguing that OCR provides no added value on YouTube, so I listed the efforts that do in fact contribute to why OCR does provide added value on YouTube and other social media platforms. Tell me if I'm wrong---but you seem to be arguing that things which are "operating costs" in an accounting sense---e.g. web hosting---are the only things that we should consider when taking stock of the appropriateness of ad revenue---that the staff should not conceive of ways to ease the burden of volunteer efforts or invest in expanded efforts in the future.
  10. That's because drugs pose a societal threat outside those channels. Not only that, but the pharmacist is personally profiting from the endeavor. While I agree that not all channels are the same, I'm not sure of how that metaphor applies to the situation. As far as YouTube being divorced from the operating costs of this website, you're making the very incorrect assumption that some are making here: that operating costs are the only benefit provided by OCR. The diversity of work that goes into this community is much more than operating costs of the website.That work includes of course maintaining a website and forum (and all the hosting, tagging, organization requirements therein), but it also includes maintaining standards of curation quality that upset the fewest number of remixers/listeners, maintaining sufficient standards of transformation/remix to help the fair-use argument fly, providing a social media platform that consistently and quickly brings visibility that our individual pages do not, serving as a sort of proxy to educate interested parties when there are copyright issues (like when the youtube channel was brought down or when the final fantasy project was questioned), cultivating good will with hundreds of individuals in the game development community, planning and organizing ways to help the endeavor grow despite being volunteers with 'real lives,' maintaining the restraint needed to prevent arguments from grinding things to a halt, the list goes on. All of those things and more contribute to the recognition/viability OCR has as a whole, including what it is able to accomplish on social media.
  11. You're right that they aren't a 501c3 --- I am highlighting their interest in becoming one as at least one reason we should trust that they aren't squirreling our remix dollars away. Whether it ends up being practical or actually happens is another question. It all comes back to trust. Legal constructs provide an easier avenue to trust in certain ways, but the staff still has to cultivate trust overall. OCR staff, from what I've seen over the years, have continually demonstrated the spirit behind legal constructions like non-profits: stating a greater good mission and bringing in revenue solely to support that. That's why fair use applies to OCR's activities, that's why we shouldn't be worried that ethics are being violated, and that's why I think that people's reaction to YouTube monetization should be more understanding. Newt I gather that you and I don't disagree... but one of the reasons I wanted to post is because I feel that even positions such as "it's OK but you should have asked" or "they probably haven't taken a meaningful amount of money"--- while legalistically fair --- are very unfair to the non-remixing sweat put into this community over the years---work which is inherently less fun than remixing, and work which should have garnered the staff a large amount of trust capital up to this point. That work should have earned within all of us the understanding that there's nothing dishonest here, because the dishonesty in this case pre-requires some ultimate self-interest, of which there is obviously none.
  12. If the terms were your main concern, you can disregard my responses. I mistakenly gathered that you were concerned about being unfairly involved in something new or risky, which were the concerns I was addressing.
  13. The obtrusiveness, of course, is not the issue at hand in this thread. You're right--it's the idea of ads there in the first place. My point on obtrusiveness is that obtrusiveness is one of the many things that OCR must consider as the designer of this OCR product. The obtrusiveness was a factor in certain banner ad decisions, and it's reasonable to want to assess the obtrusiveness of ads on YouTube. My use of the word "neutral" was not neutrality in a political sense regarding the issues raised in this thread. I mean neutral from that observational standpoint when trying to assess the obtrusiveness of YouTube monetization. Once something becomes a conscious issue that people are aware of---that people take sides on---you've lost some ability to observe how it would have impacted the delivery of your product in a purely practical sense.
  14. We don't seem to be on the same page. I'm not asserting that YouTube monetization is OK because its in the terms, so there's no need to keep referencing the terms (the terms were never really of much concern to me, personally). I'm saying that YouTube monetization is OK because its functionally, legally, and ethically indistinguishable from what the site has always done. So when you say "inform people when you do things with their work" then I agree. It's just that I don't anything "has been done" with our work that's at all different from before, and that's why I think a few people are getting upset unnecessarily.
  15. The point of contention here is precisely that---whether we're being involved in something new or not. I recognize that it seems new because we associate YouTube monetization with the everyman who builds a successful, lucrative channel for themselves... but YouTube is just a platform for revenue. It's how that revenue is used that makes the difference. So you shouldn't be afraid... not of legitimate ethical or legal implications. Of course, that doesn't mean that organizations don't use the legal system to bully other organizations, and in that sense anything is possible (as it always has been). But OCR isn't antagonizing any publishers, not by a long shot. OCR is not giving anyone a reason to cause us trouble. In fact, part of the value that OCR provides all of us is the industry respect that is nurtured through some projects and contacts. The main idea, in my assessment, is that remixes are generating revenue to promote more listening and more remixes, etc. etc... same as it ever was, same as it ever was.