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About AngelCityOutlaw

  • Rank
    Chrono (+3000)
  • Birthday 04/23/1992

Profile Information

  • Gender
  • Location
    Alberta, Canada
  • Interests
    Music, history, Star Wars, movies and video games.

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
  • Software - Preferred Plugins/Libraries
    Symphonic Orchestra, Ra, Guitar Rig, Addictive Drums 2, Shreddage Bass, Sylenth, Nexus 2
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Electric Guitar: Lead
    Electric Guitar: Rhythm


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  1. Nice to see you haven't changed. I don't feel insulted at all; no need to apologize! I apologize if I was giving the impression that you shouldn't be allowed to play Widowmaker or something. It's just a game.
  2. Interesting. My point about symmetra though is that I'd much rather have a healer support than her.
  3. Yeah, definitely not reading all of that, man. But I can tell that you're missing the point. I'm not "hating characters" and I never even play as Hanzo, for example. I'm not basing this on ME playing the character. The point is that some of the characters, in their attributes, are obviously just superior choices when you really get down to it. Bastion is waste of time when you have Soldier 76, who also has a high rate of fire/can do lots of damage quickly and heal himself. BUT he can also move and shoot as well as heal others and his ult is a literal aimbot, unlike Bastion's which requires much more accuracy. Your entire argument is all assuming the character is played at peak skill and pit against a favourable match-up. The problem with this is that this just isn't a realistic scenario in 9/10 cases because people, even pros, generally prefer to play it safe. Again, Hanzo has all of Widowmaker's abilities, but he has no recharge on his climbing, wide field of view, easier to aim with, and his ult does damage with a massive hitbox. Therefore, if it comes down to having a really skilled Widow or a really skilled Hanzo, I'll take the Hanzo or an Ana. I say go nuts in quick play, but I definitely would agree with the posters on the Blizz forums that in competitive, your teammates are in the right for giving you shit about offsetting the composition into something risky when the opponents are probably using something tried and true.
  4. I said absolutely nothing about "me knowing how to play a character" and the fact that you're good as Widow doesn't override any obvious faults. Why would I bother playing as Widowmaker, who requires a far greater level of skill (especially post-nerf) to use effectively than Hanzo, who has better mobility, can see through walls too, better field of view, a better ult and it's waaaaay easier to score kills? Screw it, I'll just pick Hanzo. Ana is also a good choice as she can throw grenades, do damage OR heal. McCree is hardly a threat post nerf; his only useful trick is the flashbang and roll. Tracer is just really fast, but super squishy. I rarely see Tracer anymore either. Pharah can fly and has an often game-changing ult and her "E" is the best means of dispersing opponents. 76 can sprint and throw down heals, Genji is super mobile and can deflect shots and Junkrat is far better suited to offense. The defense characters are pointless. Why have an immobile bastion, a torbjorn or a Mei, when you can have another healer or tank? In support, why bother with symmetra? She's the only one who can't heal and we all know how important healing is. If it's healing or armor, pick healing. 2 2 2 is a good strategy because you will always have two people dealing the damage, two that can take the damage and two that can heal the damage and each other. This eliminates a good portion of the cast in competitive play pretty quickly. While typing this, I thought I'd google to see if it's just me. It's not — this is the legit strategy right now. Because as most users say, "It works".
  5. I just got back into playing this game since the Halloween event started. My desperate need for that Mercy Witch skin has shown how much I hate the randomized loot system Anyway, I've been playing competitive and it's become clear to me that: The 2 DPS, 2 Tanks, 2 Healers is a rock solid formation. There is absolutely zero reason to deviate from this in comp. Widowmaker is not even worth playing anymore. I've seen exactly ONE widow in dozens of matches of any kind now. All of the defense characters except Junkrat and any support that can't heal (like Symmetra) are utterly useless. If you're going to pick any sniper, pick Hanzo because the hitboxes are ridiculous. Soldier 76, Genji and Pharah are by far the best offense. Tracer and McCree are completely useless. Game is still fun as shit, though.
  6. I haven't posted or been on here in months, so I don't care if I get banned at this point; therefore, I'm just gonna go ahead and be straight up What you're really asking here is, "If I give up on realism and half-ass it, will people still be willing to pay me money?" The answer, generally, is no. Not unless they really like your music specifically. For every good indie game with a retro soundtrack, there are a lot more that use the "retro" shtick as an excuse for having shit visual fidelity and dated gameplay and hope that equally dated music will be cost effective and people will give it a pass because "it's retro". Most worthwhile modern chiptunes actually have pretty slick production values with a pseudo lo-fi sound. What most people don't realize, is that the old soundtracks were as memorable and effective as they were because the composer had to know his/her stuff. Due to a severely limited number of voices on the soundchips of yore, composers relied on (masterfully written) polyphonic scores to create flowing music; they had a solid grasp on melody. It's not like now, where you can buy an M-Audio Keyboard, an expensive sample library and hold down some block chords, pound some drums and string ostinatos like everyone's favourite film composer who dumbed Hollywood Orchestras down to a pop band playing through string and horn ensembles — fuck the woodwinds. My point is, there is a market for retro scores, but it's more in being able to write in that style with a limited number of voices than in a dated sound. If you're aiming to make money by specializing in retro scores, just be sure you're music is closer to Yoko Shimomura than Hans Zimmer and don't expect lo-fi to give you a pass.
  7. Well, the drone is not "atonal" exactly, much of it is a quarter-step lower - so about midway between D (the tonic) and Db as I recall. Thought it was a fitting sample, at least in the initial incarnation of the track since the beginning has a sort of horror feel. Carry on.
  8. I don't 100% agree that instrumental skill is irrelevant to composition. I'm aware no one directly said that - the idea is that you don't need to play like Beethoven to make realistic MIDI or compose, but more often than not, I still see a causal link between quality of composition and instrumental proficiency. If you try to compose music with an instrument you suck at, the instrument is now a bottleneck in your workflow. It makes it difficult to play the ideas in your head before they disappear and improvising limits you to what is within your limited skills. If I have an idea, I want to get it in recorded or written format ASAP with no mistakes and no chance of forgetting any part of it. That's why I prefer to write with sheet music and my guitar whenever I can. I'm a much better guitar player, so it's effortless to play and notate the ideas as they come to me and improvising yields satisfying results, more elaborate melodies and counterpoint, and intriguing discoveries with far greater frequency. Afterwards, I can orchestrate it and half ass play it in on MIDI controller with quantization. The end result is a much better piece of music than I would have made if I tried to come up with it in the DAW with the keyboard. Most professional composers I know, even if they're crap pianists, can sing their ideas quite well.
  9. I have a question related to Bonkers' post. If you become an NPO and you're making all this money from Patreon, Ad-Revenue etc. what happens to all the surplus (and there is surplus, right?) in say, 20 years and OCR closes down? Do we all really believe that this site is going to be around forever? Is DJP still going to be running it in his old age? What happens after he dies? $2,269 per month via Patreon is an amount of money the average musician and even many people with full-time jobs would be envious of, but I doubt the site costs that much to keep it going. NPO or not, there is going to be money, possibly quite a sizable sum left over after years and years of accumulation. What happens to that when OCR no longer exists? It must go somewhere.
  10. So that they may evade the other place's ban-hammer. Works better in theory than practice.
  11. Yep. I can't believe I'm saying it, but I do agree with Brandon on this. Based on what we've seen so far in this thread, it's obvious that the majority of the staff have made their decision unless DJP throws down the word of god otherwise. There is nothing more to discuss - it's starting to go in circles because pertinent questions go unanswered because we simply don't have answers to them - only flat-out speculation on what might happen at worst and informed, but debatable plausibility at best. Legal discussions aside, the ethical factor remains and on that subject especially, some posters have just too much loyalty to the community to remove themselves from it and see another perspective - in their minds, OCR can do no wrong. That being said, I'm really glad to see some longstanding members of the community have no bias to the site. So I'd say the only thing we can do for sure is make the personal decision about whether or not you want to continue submitting remixes. If you don't like the YouTube ads, then don't; if you don't care or are all for it, go right ahead. Just don't blame anyone but yourselves if it goes bad.
  12. You know, I agree he's tinfoilin' way too much, but I'm watching this thread eagle-eyed because we are witnessing history. It will be interesting to see what becomes of the community no matter how this plays out because I've never seen an issue as divisive, even among staff and other prominent mixers as this.
  13. Value is subjective No, but it wasn't monetized before No, but it wasn't monetized before Your "reminder" is irrelevant given the current situation The criticism is completely warranted and your point is that musicians shouldn't be compensated if they did a fan work for free, that was free, but then the host decides to monetize it for whatever reason and intentionally keeps the creators in the dark - an unfair situation that could possibly now put those free fan works in the way of the copyright ban-hammer. Your opinion is unreasonable. Maybe if you saw the counter-productivity in your outlook on this kind of thing, you wouldn't be so cynical about music careers in general.
  14. Answer to question from 1-11: "None of this matters" Like, I don't even know what point you're trying to prove here. You are just reaching for whatever you can to convince yourself that there is no issue with artists' work being monetized on YouTube without their knowledge. This whole issue shows why I've become increasingly cynical towards "non-profit" organizations in general, honestly. If there is money being made on fan work distributed for free, but OCR and/or the publisher are receiving ad-revenue directly from that work, then regardless of whether or not the money is being re-invested into the site, the artist is being screwed. Period.