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A little bit of a bump but as I recieved the guests audio recording a bit late, Episode 48 released before Episode 47. In this weeks episode I'm joined in by the young and aspiring developer and composer Jaakko Mela, we talke about his experience as an new an upcoming composer, what are the struggles with imposter syndrome, what are the victories that causes headbanging and much more! Episode is available on Spotify and platforms where you find Podcasts. The next episode will be release as soon as possible (The one where I interview David Wise), and as usual the next "on schedule" episode I have a pre-recorded sessions with the Composer Daniel Lindholm that made an on-site visit at my home to talk about his latest work with three indie titles!

This one bypassed the judges panel. I hate Zach [sic], so I didn't want him to get any feedback beyond mine. :-) /s

I love the direction as well.  I felt like it lured me into a false sense of security with an adaptation for what sounded like a single Game Boy as opposed to two, and then all of a sudden, it started developing with a busier soundscape and textural shifts to make this two-variation direction work.    That also makes me feel confident that you are getting a whole load of mileage out of LSDJ, no thanks to the careful attention to noise shifting and texture/pitch manipulation on the fly.   The Sherm variant is on point, the sudden Streets of Rage SFX was unexpected, and the choice of differing harmonies from the OG makes this a strong sticking point for me. Now, repetition-wise, the only thing that feels like a problem for me is the drum writing, which has the same pattern outside of fills and breaks.  The tonal elements around feel like enough work as the sum of their parts for me to consistently see them as dealbreakers, but the basic boots-and-cats-and-etc setup runs its course very quickly.  Drumwriting isn't easy to work on, but studying other potential ideas for grooves and figuring out how to implement them into your software is a good idea. Similarly, with six channels of pulses and two of noise, the mono sound also feels like it's hurting the mixdown so much, to the point that I'd like to hear the details of each individual channel rather than them mushing together.  From what I saw in the LSDJ manual, there should be a way to mute individual channels and put them all into a single DAW, then tweak their properties (panning, EQ, other effects) from there - which I'm under the impression is how gravitygauntlet mixed down some previous work of yours. It's a fun fakebit arrangement, and it'll be amazing to see on the site, but it needs some repetition re-work and another mix pass.  Know that you have a great network to assist on the latter when required - you've got this. NO (resubmit)

No judges' thread for this? I do always enjoy reading the judges opinions and analysis of tracks

tangent: all these FPS games with a late 90's retro aesthetic have been coming out for the last 5ish years. i think the game devs of that kinda niche would be really smart in drawing from the talents of demoscene style musos (like maze). with real tracker files used in the game and such. the unreal and deus ex music really was something. quite hifi and modern in a way, but still with a distinct tracker style signature. technology just moved too fast back then, and now could be the time to bring that style back in games. to mazedude: it'd be awesome if you found someone from that general 'retro' niche to work with. you probably wouldn't be the best for a standard deal like "something like unreal"...but some weird games were coming out back then. like "normality" (even though that's a kinda cheezy one). i think your style would be great for a lot of 'alternate reality genre benders' type games that could come out in the next years. maybe something 3D with a lot of narrative/RPG/adventure elements or something.  like, i think the perfect games for a christopher getman score haven't even been done yet :D   it'd be so cool if you did a bobby prince (as in: go pro late.)