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Still listening. Btw, screw you tuberz. You know what you did.

I have absolutely no clue what you're talking about. <3 <3 <3 To be fair, we ARE MaveRICK ASTLEY. EDIT: Also, the new forums have a warning point system and I feel like this is the perfect occasion to implement it.

Did I... did I just get rick rolled by Tuberz?

If you could do 8pm for the listening party I could join in, I work on Pacific time, and 7 eastern is 4 Pacific, which cuts into work, for me.

Listening party tomorrow at 7PM EDT (1AM CET). #ocrcompo IRC channel on esper.net. We're doing it the old-fashioned way so download the songs before. If people want a different time/date, it can be arranged I guess.

It appears that the theme for this new group of tracks is Chiptune & Rock Here's some reviews for the round 1 entires: Yami: cool groove, nice instrument choices, and the production's pretty clean Eino Keskitalo: Love this! Wish I could discern the lyrics a bit better, but the production overall is pretty clean and the sequencing & arrangement rocks (pun intended)! Esperado: Although you have some cool sounds going on here, the mix needs to be better balanced, and your leads & pads need some EQ & compression to help accomplish that. The track also feels a bit empty and could use some more excitement/movement going on. Jason Covenant: wut this is pretty cool, but I feel like the mix (especially the vocals) has some piercing highs going on that need to be controlled. Otherwise a great arrangement. SuperiorX: Smooth as hell, like always Yoshiblade: Cool grooviness and neat synth work, as I would expect from you. Only complaint is that the kick could be more present, probably could use some compression and more "click" and maybe some "whack" in the eq (see this page for help: http://www.benvesco.com/blog/mixing/2007/mix-recipes-kick-drum-eq-and-compression/).Also when you do the eq sweeps near the end the track volume needs to be more consistent. (The master on this sounds pretty decent, who'd you learn that from? ) Sir_NutS: daaaaang, this is tight. Glitch hop FTW (although I thought you were exclusive to spacey dream trance? ) No complaints here. Trism: I'm impressed with your growth with your production, man. Groove is pretty cool here and I like your drum groove & and synth work. Sounds like some elements could use some more compression, though. Ivan Hakstok: Great rock track, as usual. Things sound a bit muddy and uncompressed to me though. pu_freak: Some really cool stuff going on here but needs better production. I don't mind discussing my thoughts or giving further explanation to my reviews, so feel free to ask!

Introduction You've just completed your archaeology degree. You're about to take your experience into the field, where your daily life will include whipping living mummies, breaking ancient pottery, jumping out of airplanes, dodging spikes, and stealing priceless golden artifacts from Nazis before they can use them to take over the world. It's a dangerous job, but you live for thrills, fame, and riches (and, to a lesser extent, the study of past human civilization). Regardless, you're going to need some background music. Sources Definitely approved: La-Mulana, Tomb Raider, 1001 Spikes, Uncharted, Indiana Jones (no tunes from the movies). If you have a different idea, we’re open to other sources. The protagonist of the game needs to be an archaeologist or archaeology-related adventurer primarily; if the character often fills various other roles, their games are not currently eligible (i.e. Mario, who only occasionally appears as an archaeologist). If you’re wondering whether a certain game will be an appropriate choice, listen to the soundtracks listed above and see how well your idea fits in thematically. Check the tracklist or ask one of us for specific recommendations. Style Mysterious temples, heart-pounding action, and everything in between. World instruments and/or influences are highly recommended, but not required. You can be totally serious, you can be a little silly, just keep it in the theme of adventure, exploration, danger, wonder, etc... Deadlines On an individual basis, we'd like to hear from people once a month until they're done. That could mean an extra minute of arrangement, a tweaked snare, or an occasional "my whole family fell to the mummy's curse and I didn't get a chance to work on it." If you don't show any progress or cannot be contacted for three months in a row, we'll remove you from the claims list, though you can come back if your source is still open. We'll work out final deadlines once the project is well on its way; it's possible you'll never have to worry about it. Claims To claim a source, send Hylian Lemon or Mr. Bottle Rocket a private message describing how you plan to approach the arrangement. If you aren't a posted remixer, we'll need some recent examples of your work first. Make sure you're ready to get started on your track at the time of your claim. Goal Official OCR status Other Notes This project is headed by myself and Hylian Lemon, don't hesitate to contact us about any doubts or updates you may have! Tracklist View it through our Google Document.

Good round. My last vote was basically a toss up between will's, timaeus and jnwake's tracks. Good stuff.

rnn Rolling (Frost Walrus in Palace Ground [X]) Wanderforce (Gravity Antonion in Palace Ground [X]) Bounce Too High (Vanishing Gungaroo in Palace Ground [X])Shariq said I could get my vote in now - this once - because I helped with sigs. Please no bully.

I'll discuss the deadlines issue with hylian, thanks for the interest and good luck on your project!

Hey Garpocalypse, did you intend your track to be Celtic and/or Irish? And I think you should continue polishing it for OCR submission. I don't hear many OC ReMixes in that style.

Maybe you didn't notice, but you got rickrolled already last week. The quality remains high. I feel it is actually a lot tougher to pick the top three. Nice work.

Can't say we didn't warn you guys

I've been using clips from this album as my alarm clock for the past 7 years and it remains one of my primary sources of inspiration when I do attempt to compose. It is indeed a great album that has aged rather well in my library.

Round 2 music is up. Let me know if there are any issues.

nb4 im schooled by usa. Edit: oh... Usa didn't even go this week. :E Edit2: I see like EVERYBODY decided to emphasis Doppler's stage this week. Fancy. Edit3: The talent this competition is absurd. So many great tracks this week. Congratulations everyone.

There's too many variations of ass I'm just not sure why we have to settle for either "Good" or "Bad"... The album should feature many shades of ass. As it is it's too boolean. I dunno what the panel was thinking when they "evaluated" this and "p-assed" it

In that order yes, but if it was A; B; C#/Db; D; E; F#/Gb; G#/Ab then it would A major, if that helps at all!

Anything from For Everlasting Peace: 25 Years of Mega Man can't be used. MM25 isn't covered under OC ReMix's Content Policy; as a licensed, for-profit album, there's different set of rules. You can't post the tracks on YouTube and you can't use them as background music in your videos.

I'm not sure if you played with the panning and the stereo field a bit, but it seriously helped if you did because the various parts feel more distinct to me. The melody at 1:09 - 1:22 also sounds much improved! I'm also liking the slow bitcrush-automated outtro. Sounds pretty solid now!

Kinda hard to say much about short clips. Maybe consider posting a single full tune you want most feedback on? I don't know much about KOF soundtracks so it's hard to say anything about how you interpreted the original, without linking to the OST too.

By extended harmony, I mean a major, minor, diminished, or augmented chord that has additional thirds stacked up on top of it, with the numbers representing the intervals above the root (for example, the BbM7(9) from the above track is Bb D F A C). And unextended harmony is just the basic three-pitch chord with no additions. The notation conventions for these extensions vary a bit depending on whom you talk to, but generally: if min, mi, or m is specified, the unextended chord is minor a plus sign, aug, or #5 means the unextended chord is augmented a minus sign, dim, or mb5 means the unextended chord is diminished if there is no min/aug/dim etc. then the unextended chord is major if maj or M is specified, the 7 is a major seventh interval over the root, otherwise it's a minor seventh 9 is assumed to be a major ninth; a minor ninth is written as b9, and an augmented ninth is #9 11 is assumed to be a perfect eleventh; an augmented eleventh is written as #11 13 is assumed to be a major thirteenth; a minor thirteenth is written as b13 listing an extension implies that all the lower extensions are also present; if not, add is included before the extension (e.g. Cadd#11 is C E G F#) if the bass note is not the root of the chord, the bass note is written after a slash (e.g. C7/G is C E G Bb with G in the bass) So CM13 would be C E G B D F A; Cmi13 would be C Eb G Bb D F A; C13(#11) would be C E G Bb D F# A; Cmi7addb13/Eb would be C Eb G Bb Ab with Eb in the bass; and so forth. In classical music, these chord extensions were considered dissonant, and they were generally approached and left by step because doing so makes the dissonance "make sense" in that it is both led into by and resolved into notes that are not so dissonant against the underlying unextended harmony. And the song in the OP specifically doesn't do this, which draws attention to the dissonance. I think the F-C-F jump in particular is important to the overall sound of the example both because it's emphasized through repetition and because the way in which it's dissonant -- that is, the extension that it forms over the chord -- and the specific notes in the gesture that form the dissonance are different in the repetition from in the original. So when you hear it a second time, it's still dissonant, but it's dissonant in a different way. It's the old trick of recontextualizing a melodic figure, which is an effective compositional approach in pretty much every kind of music.

As a lurker/outsider, I would say that the vast majority of people who even know this forum exists know by now that projects come out on their own schedule. The rest are likely younger kids who aren't going to be silenced anyways. Honestly, I'm surprised at what (I agree with Brandon Strader) came across as being angry. It's an open forum. Asking about the release date is part of open discussion. If you don't want conversation regarding hype/release/joviality/etc., then it might be best to make Projects a closed forum, open to the artists, project managers, and judges only. I will say that my knowledge of such things are that the more "businesslike" a forum is, the less fun it is, which is completely against my impression of the OCR community. The main reason I've been lurking the past decade or so is that while I appreciate the work going on here, I have not the musical ability to feel comfortable with carving out a place here for myself. Lastly, I will say that for this project in particular, my impression is that folks are less concerned about "when is it coming out," than "IS it coming out." I'm sure everyone would have to agree that 5 years is a fairly long development period, given that most of it was done years ago. That's no a critique, I'm sure there are good reasons, but there will also be a natural amount of curiosity. Curiosity isn't a bad thing, neither is hype for a release. Since there has been significant movement in the last few months and the release is imminent, I would wager the posts here are more excitement than frustration. And frustration of "when do I get my free stuff" should just be ignored. That's all I have to say. As I crawl back in my hole I just want to say good luck with the release, and I'm sure it'll be suitably epic.

Eval has completed, album PASSED (woot! was there ever any doubt??), feedback was provided to Pieter... It's going to be a bit before we can publish, because we've got FF9 and then a couple others (gonna be a busy 3rd & 4th quarter!), so I'm hoping some of the feedback can actually be used in the meantime to improve a couple of the tracks. It's optional - as mentioned, the album passed - but the third & final ass can be even badder if some tweaks are made here and there prior to the big day...

Seems reasonable, and we ARE working on tags/terms that would enable this... we like to strike a balance between encouraging diversity (both on the part of artists AND listeners) and being accommodating to folks who may have more specific tastes. The human voice will always be my favorite instrument, personally, and I love the extra layers of creativity that original vocals/lyrics can provide.

But nah, 300-350 seems to be good IF you can find someone who wants the whole bundle. Selling some stuff individually like Pandora's Tower, Last Story and Ninja Gaiden might be better since a lot of people who buy nintendo consoles don't buy 3rd party games so they'll just see them as throw in games. 300 for the system in box with everything minus Pandora's Tower, Last Story and Ninja Gaiden doesn't even seem like too bad a deal since the system itself refurbished goes for like 200. The 2 smash titles should net at least 50, New Super Mario Bros. U 25-35 maybe, 10-20 for Twilight Princess and another 10-20 for the wii-mote (hopefully motionplus version) and nunchuck, 5-10 for the sealed zelda amiibo and maybe 15-20 for the opened Samus one since that one isn't sold anymore. All depends on items condition though, if it's all in mint to flawless condition make sure to mention it.