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About MindWanderer

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  1. Fun facts: Netflix is producing an original miniseries based on Castlevania III. We currently have claims (and one WIP) for three of the four protagonists of Castlevania III: Trevor, Grant, and Alucard. The one hero from the game we don't have a claim for is Sypha Belmades. Sypha's theme is "Mad Woods." I still don't have someone to do a tribute to gamer/wrestler Xavier Woods. Xavier Woods has several very different theme songs, which include rap, funk, and dubstep. One of the few to have a purely electronic theme song. Surely someone can step up to this obvious challenge?
  2. The key word is "gradually." Streaming services do this. I don't know of any standard software that applies any kind of volume standardization to a plain ol' playlist of MP3's. As such, we have to make certain guesses as to how loud a track should be in comparison to similar music that exists, not only on OC ReMix, but elsewhere in the general market. We're pretty tolerant, on the whole: unless a track has a lot of unused headroom, or is distorted, pumping, or clipping, we're likely to be OK with it (although there's certainly some subjectivity involved, as NutS and Rozo said).
  3. Awesome, you got it! Also, Flameing Daeth Fearies had to drop their claim on the CastleMania theme song (Vampire Killer), so that's up for grabs. Needs to be a kickass track with vocals, though (rap is an option).
  4. Team Knight - Shovel Power (Shovel Knight vs. Tinker Knight).mp3 Team Robot - Lonely Cosmic Workshop - (Saturn vs. Tinker Knight).mp3 Team Knight - Ghost in the Machine (Specter Knight vs. Tinker Knight).mp3
  5. I'm putting my round 4 reviews here since the voting thread for that one is just for votes. Armor Medley: Well, it's a piano medley. Does what it says on the box. Almost no integration of themes here, pretty much just three piano covers end-to-end. Lonely Cosmic Workshop: Nice integration of the sources. Severe overcompression, though, and the levels could definitely use some work. Could do without the fake orchestral instruments. Overall, though, this definitely hits the main design goal of the compo. Shovel Power: There's a certain deliciousness in using 80's synths to remix a game designed to emulate 80's game aesthetics. Other than some odd harmonies a little atypical for the genre, I don't have any substantial crits here. Fun stuff! Not So Deviant Ballade: Lots of clashing notes, and the various instrumental lines don't sound like they're integrated in any meaningful way. The vanilla saw lead and the overcompression aren't doing this any favors, either. Ghost in the Machine: As much as I hate cliche titles, you could hardly have chosen a different one here! Accompaniment is frequently off-key. More vanilla leads, but at least it's a couple of different ones. Tinkering on Pluto: A very static arrangement. Instrumentation and beats hardly vary at all after the melody kicks in. Heavily crowded in the mid-highs, making the instruments very hard to distinguish from one another. Seems like some lengthy sections are repeated wholesale.
  6. Battle to the Grave: This is full of seriously clashing notes. Timing seems out of sync in a lot of places, too--part of this is due to a lead with a really slow attack, which is really obvious with some of the quick notes that never get the chance to fully form. I'm having a hard time picking out Mercury's theme, but that's not surprising given that what I can hear of Spectre Knight's theme is greatly distorted. The Siege of Venus: Pretty slick concept here to start off with. The jazz works better than after Wandering Travelers starts, though--it tries to be big band, but it's a small band. Panning is also unbalanced--it makes sense to have instruments have a "place" in the audio space, but that can become an issue when all the instruments playing at a particular time at a particular frequency range are on one side. The arrangement was just Venus->Wandering Travelers, no integration between them, and even the genre changed. Four Against One, Sounds like Fun: Interesting take on Wandering Travelers, focusing on the late part of the song. Arrangement is pretty good, mostly the usual production issues here--balance, overcompression--which are secondary concerns for this compo and can always be fixed given time.
  7. Review time! El Polar Enker: This is kind of a textbook example of a static arrangement. There are only two leads, the guitar and the piano, and their thin and artificial character makes them sound very similar to each other. The percussion is a simple loop that's varied very little from beginning to end, and there's very little other accompaniment; the Enker section has some mid-range piano playing a simple loop, and that's about it aside from an extremely quiet bass. As for source usage, it's a straightforward A-B-A pattern, which works but isn't very striking. Arctic Robot Dance Party: A good effort at integrating two sources that don't lend themselves to integration in any obvious way. Some good ideas here, although vanilla synths and simple beats do bring it down somewhat. Some of the transitions are a little awkward, and the ending is a little abrupt. King of the Kuiper Belt: I had a very hard time identifying the source usage. On the second listen, I caught some suggestions of both themes, but they're really far afield. Nice approach with the style, although there was an awful lot of the organ lead that could have been switched up a little. Bass and highs were both a little light. Pridemoor Cat: Not bad at all! A little slow and repetitive, but it's trance. There's an odd effect in the first main section and again at the end where the lead is pushed back a little, which almost works, except that the mid-low arp is supposed to fill in the pauses in the Pluto theme, but isn't quite beefy enough to pull it off. I was worried about a simple A-B-A arrangement here, but then you started doing the layered thing, and it worked really well! It was kind of disappointing when that section ended, since it was easily the best part and there was a full minute left. Solid approach overall though. Fellow Knight: Odd how this gradually grows less melancholy and more trancey as it goes, until the end when it reverses. The lead is a little static, but it's a good arrangement. Nice, if brief, layering of the sources.
  8. I just listened to @mikedm92's WIP, and it's pretty freaking good. And he claimed his track less than 2 months ago, setting a great example for the rest of y'all. The deadline to get a WIP in is less than a month away, so please get me something! I've only got two near-complete tracks so far, but they're both stellar and I don't want them to go to waste (though of course they can always be submitted to the site as normal).
  9. I like a lot about this trance-y take on one of my favorite sources, but what we have here is a loop. 0:16 is the start of the loop, and at 1:50 it returns to that, repeating itself verbatim one full time before fading out. That's not the type of arrangement we look for. It's also quite quiet. I see almost 2dB of headroom that you could be using. You don't need to balance it all the way up to 0dB, but I have to turn up my volume quite a bit to hear it well at all. Otherwise, this is pretty good stuff. If the second half branched off into something more creative and interpretive, this could well have been a solid mixpost. I hope we hear more from you! NO
  10. Hm... "Rock-a-bye Weasel" is very close to "Rock-a-bye Baby." I think it's probably different enough that it counts as a unique composition per our criteria, but I do think we should get the opinion of senior staff before giving it the OK. I'm really not a fan of the pad-like synth that plays throughout almost the whole arrangement (from 0:10-2:08). It sounds like it's supposed to be strings, but it's clearly fake and sounds completely out of place with the harp and lead violin. It's especially problematic at 1:51-2:07, where it's supposed to be playing under the music box, but instead swallows it up, and neither instrument sounds good there. I agree that the lead violin is not great, but I think it's more than adequate. For me, the question is whether those backing "strings" are a dealbreaker, since I don't hear any other substantial issues. The arrangement is otherwise pleasant and extremely creative. For now I'm just leaning on the side of saying it's OK, but it does bother me more the more I listen to this. If anyone else has any concerns about it, I'll listen to it again with fresh ears and could maybe flip my vote. YES (borderline)
  11. Speedrunners have gotten it down to under the 1 hour mark already. I kind of feel sorry for them, though--for them to be grinding speedruns in the first week to master it down to that level means they're not really spending time playing the game as intended. Well, to each their own.
  12. Normally, that's certainly true--they make the game and then shoehorn it into the timeline because they feel they have to for some reason. But in interviews about BotW they've said that this time they've put thought into it, it's definitely part of the timeline somewhere after Ocarina. That being said, they probably came up with that fairly late in the process and there may be logical inconsistencies. But I doubt very much that there's some master plan here. In other news, anyone having any trouble using amiibo? I don't have any BotW ones, but I used another to make a pile of random gear. Now I can't do it again, several real-world and in-game days later. I use the Amiibo rune and get the targeting circle, but my only option is B-Cancel.
  13. Please try to avoid spoilers. You don't learn about the other tribes' existence until possibly several hours into the game. It's really early, but some people might still be upset. I'm spoilerblocking everything we haven't learned from the demos already.
  14. Well, two small pieces of good news: Nintendo has said that Netflix, Hulu, and Amazon will be coming to Switch at some point in the future. Also, Friend Codes are a little less onerous than they were on 3DS: If someone adds you using your friend code, you get a notification you can just accept. You don't have to get their friend code and add them back manually.
  15. I hear the framerate issue is less severe on Wii U. I noticed it on Switch but it wasn't enough to bother me even then. Odd about the quest log. It should show the map marker as soon as you get the quest. If you have multiple quests, it will only show one, but you should have had only one at that point. I got the marker before I figured out how to use the quest log. Funny that you had problems accidentally climbing trees. I accidentally climb walls a lot, but I have a hard time climbing trees for some reason. Every apple tree I encounter is left with one apple on it because I just can't get to it. (Although if you're lazy, you can whack the tree with a club or sledgehammer and the apples will fall off.) I still haven't found any bomb arrows yet--my next stop is actually going back to the Great Plateau to pick up stuff I missed--but I have a funny story about my first blue bokoblin, too: it was one of the ones hanging out in a giant skull head with the exploding barrels that invites you to shoot down the lamps through the eyes and watch everything blow up. Except, while I had two bows by then, I had no arrows. So I climbed up around the side of the skull and down into the eye socket, and threw a tree branch at it. This worked beautifully except that it also set Link on fire. I'll say this for BotW Link: he's very stoic about pain. He just sort of stood there and burned, losing half of his hearts, and I didn't hear so much as a grunt of complaint from him. Also when I jumped down to finish the heavily injured blue bokoblin off, it seems I'd gifted him with a flaming tree branch to use against me, but fortunately I got him anyway.