djredlight

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    18
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About djredlight

  • Rank
    King Hippo (+15)

Profile Information

  • Location
    Australia

Contact Methods

  • Website URL
    http://www.djredlight.com

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  • Biography
    I've been writing music in one form or another as Dj Redlight for over 10 years. I still write music but don't remix that much anymore, I work as an audio and production lecturer, high tech sales for a large music retailer, and occasionally do some professional composition and production work here in Australia.

    Facebook: http://www.facebook.com/djredlightmusic
    Twitter: http://www.twitter.com/djredlight
    Youtube: http://www.youtube.com/user/ashleycarr86
  • Real Name
    Ashley Carr
  • Occupation
    Producter / Musician / Remixer / Lecturer

Artist Settings

  • Collaboration Status
    0
  • Software - Digital Audio Workstation (DAW)
    Logic
    Pro Tools
    Reason
  • Instrumental & Vocal Skills (List)
    Piano
  • Instrumental & Vocal Skills (Other)
    Synth, Keys
  1. Danng, Burning Up rocks!!!

  2. I was shocked to hear about this, it made local news here in Australia. OCR has lost an incredible talent and a shining advocate for everything we do here. Its a terrible tragedy when someone so talented with such a bright future ahead of him is cut short. My sincere condolences to his family, friends and all who loved him.
  3. of course not.. It just keeps getting better and better. Delta Q Delta is your project TO, as you're so happy to point out. The onus is on you to find another remixer to help complete your project. I'm not surprised you find looking for a replacement difficult talking like that. I wont be blackmailed into organising your project.
  4. I was in constant contact with Lee via MSN during the time this discussion was taking place. If there was such a controversy over my work in May, why was I not told? I finished work on the second remix in early September. Why wasnt it brought to my attention at any time during that period? By accident? Or again, was I supposed to have known all this from a message that was posted over a year before i was asked to join the project? And now he wants to take command over what happens with my work? I dont think so. How is any of this common knowledge? Its an obscure and equivocal piece of information that emerged from a Doom forum and was never previously an issue for ocremix. Prince is credited as composer for Doom 2, for which I'm sure he still receives royalties. His compositions were perfectly acceptable for a multi million dollar gaming franchise and arguably one of the most important titles in electronic entertainment history, but an homage is a wildly different story. Though I guess I probably should have known that too. And why is my withdrawing my remixes such a big deal? You've got a community full of remixers who are already requesting to take on the tracks, what difference does it make? I'm sick of arguing about it. Find another remixer and move on.
  5. No Lee, you wont be. I wasn't making a request. I may have agreed to remix for the project, but you deliberately withheld information from me. If thats true, and you were arguing "black and blue" for my map 18 remix, how come i wasnt made aware of any of it BEFORE I started work on map 9? I dont like being played. Besides.. You've already had a request, you just haven't bothered to respond yet. So just to make it perfectly clear; you do NOT have my permission to use my content in your project.
  6. TO informed me of this last night. It appears that the panel has already taken a stance on this, that Map 18 was indeed composed by Pantera. Of the five "black-listed" tracks in doom 2, FOUR have been remixed already and are currently hosted on OCR. Not to mention the numerous tracks with the same status from Doom 1 and DSoP. The whole thing has become quite ridiculous, and seems to only apply to my work. Hypocrisy aside, I was asked to join this project only to stumble upon this by accident after I had finished my remixes. Needless to say this project has become a sizeable waste of time for me. I don't understand why you would call for remixes of these questionable soundtracks for an OCRemix site project on one hand, yet condemn those remixes by taking the stance that they were never written by the composer we're supposed to be honoring on the other. I am withdrawing myself and my remixes; Map 7 ("Dance of the Mancubus") and Map 18 ("Still Waiting") from the project. I'd like to avoid any further debate over my music as I didn't join this project to remix Pantera or Slayer. Again, my apologies to TO.
  7. I see the whole thing as quite frankly, very petty and silly. Some tracks are acceptable and some are not, but you might allow them subject to a debate. DQD's tracks are subject to all this rubbish, but DSOP's weren't. But as I said, its your perogative to do what you will, and I'm in no position to argue with the system. But had I known about any of this, I wouldn't have remixed either of the tracks I did. Increasing fan nostalgia? From what I gather, OCRemix's opinion is that the tracks in question are actually composed by commercial bands, and not for the Doom 2 soundtrack. However you'll let them slide in DQD for the sake of a complete project. As far as cutting off my own nose, think about what you're asking me to do. You're asking me to post my music on the same site that is screaming out black and blue that it was originally a rip and not an acceptable source. So no, I cant say i share your view, It doesn't do me, or my music, any favours for it to be muddied by all of this. As I said before, this has nothing to do with being posted on OCRemix. In between school and work and other things going on, those remixes took me months to do and I refuse to treat them flippantly.
  8. Thanks for getting back to me on this one Larry, and so you know, I'm not "pulling my hair out", I'm simply looking after my own work. I can understand where you're coming from and thats fine. Its not my position to argue with your's, Dave's or the panel's opinion on what is considered a valid source. I'd just like to make it clear that whichever of my works OCRemix won't consider, I will withdraw and keep for myself. Apologies to TO, I wish I was aware of all this earlier.
  9. No arguments from me there, i know he's based the soundtrack heavily on those songs, some moreso than others. My point is that if he's rearranged the tracks enough for them to be considered legally an original composition, wouldnt that qualify as a song written for the game's soundtrack and hence a valid OC remix source?
  10. I was unaware of this until yesterday when i read that post (after completing two of the aforementioned tracks). According to John Romero, (lead designer of doom 2) on his own website. "..Bobby Prince was a lawyer before he was a musician. He knew the legal amount of sampling that he could do without getting into trouble." As far as i know, Id software nor Bobby Prince ever encountered legal problems regarding the soundtrack. From the ocr faq, regarding remix source qualifiers... "..The music does have to be from a game, however - it can't be a bonus track off a commercial OST that wasn't actually in the game. In addition, popular movie themes (i.e. Star Wars, Indiana Jones, etc.) or commercial songs that happened to be used in game soundtracks are not valid ReMix material. The music has to have been composed for the game, not simply used within it." If he was allowed to copy as much as he did for the tracks to be legally considered original compositions for the doom 2 soundtrack, and not simply just covers, shouldn't that make them eligible for OCR?
  11. doo doo doo doo, chh.. what more reason do you need?
  12. Thanks for the great feedback guys I could have simplified the explanation, but i was sorta pressed for time doing the voiceover so I was just making it up as i went along. I usually direct people to other resources like Computer Music and Future Music Mags (I think theres a Synthesis Magazine, but we dont get it here). Also online resources like Wikipedia, Synthesizers.com and these great forums are stacked with information making it easy for someone to get further and more detailed explanations. ------------------------------------------------------- Edit:: I took your advice and upped it to
  13. I had to do this tutorial movie as an assessment piece. So to anyone who's interested, its a movie outlining the basic theory behind synthesis using the subtractor synthesizer in Reason as an example. I hope someone finds some use out of it Cheers. Ash The tutorial movie is at .
  14. Thanks for the great reviews guys. As far as samples go, the b3 sample set came from the awesome (and free) electromechanical refill from www.propellerhead.se, which i think sounds great. The refill includes a whole bunch of multilayered sample sets of classic electric pianos and organs (b3, whirley, rhodes). The other samples i used were some recordings of the original Doctor Mario sfx from my NES, which i was stunned to find it still actually worked, and that "is there a doctor in the house?" thing, which was me! i recorded and vocoded myself using reason's vocoder. Everything else was synthesized using reason's synths, malstrom and subtractor.. (mostly subtractor, <3 subtractor). I program all of my synth sounds from scratch and its a major part of what inspires me musically. Using samples and loops doesnt really give me that same satisfaction, So i pretty much stick to single hit percussive samples, multilayered musical instruments and anything i record live. And as for things rotting on my hd, i'm shocking like that. I have a 'my shit' folder with years worth of half finished ideas, 10 minute mess abouts and absolute rubbish i produce just for a laugh including songs about canned pears and midgets. Thanks again for the comments everyone Ashley
  15. I really enjoyed this mix, and after listening to it on repeat over the course of the afternoon, I'm amazed at how TO uses the glockenspiel and piano together. I also like the delayed glockenspiel solo at 2.48. I really like the way the acoustic guitar dances over the beautifully chilled beats, and similarly the distortion elements that undertone them. Also the nice airy strings underneath are great, and help to weave light and dark into the track. After listening to TO's work a few times you start to hear the little things that make you think to yourself "that's really cool". Overall this piece has an almost chillout quality about it which i really love. The originality of this mix is what makes it stand out for me. Great work TO, keep it up! =)