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Instead of doing 10 remix albums, why not do one with a track from every anniversary game? Could be cool.

We already have results! http://ocremix.org/remix/OCR03285 THIS COULD BE YOU CUTTING THE LINE BRAZENLY! Thanks to Shnabubula for answering the call.

As an addendum to the advice given above, I can offer some info that might help out you with this task - whammy bar affects all 6 (or 7/8) strings differently, e.g. if you lower the bar so that lower E is one tone down, the high E would be like 1/4-1/3 tone down (this probably also depends on the string gauge). Either way, when whammy bar is applied to a chord, it creates a dissonance between the notes, which is a very important characteristic of the whammy bar sound. The dissonance is very pronounced if you're using a distortion guitar sound. Just, if possible, try to apply pitchshifting before distortion in the plugin chain.

I pride myself on being able to sequence guitar like synth solos, and doing "fake whammys" is something I like doing. Whammy Bars basically just lower the pitch of your guitar. You can go up in pitch as well but going down in pitch is generally what its used for since you can go so much further down than up - About 12 semi-tones down is about right. In my experience, I prefer using the Pitch Bend Wheel - You CAN use legato (thats what I use for "hand bends) but Pitch bending allows for so much more control over what you're doing. Plus, if you're careful, you can use LFO on the pitch while you're using the Pitch Bend to create descending vibrato, which is quite cool if done properly. If its not fast enough vibrato tho, you just end up fucking up your nice downward pitch bend so you gotta be careful. But yeah, the thing is, a LOT of people use harmonics when doing whammy dive bombs (going down about 7 semitones or more) cause it sounds cool... I have a synth with a formant shifting dial (In the Malstrom Graintable Synthesis Synthesizer in Reason) which emulates those harmonics. Sometimes I'll change the oscillator volume balances to help create a more interesting sound (with distortion, you can get weird effects from any sort of timbre changes). Honestly? My biggest piece of advice to you is practice practice practice. I don't know of any VSTs that produce that magic sound you're looking for but I know you can do it if you just work at it. I'd also suggest you try transcribing some guitar parts that use a lot of whammy stuff - slow it down, get those little details so you can figure out how to sequence it realistically. I did this some time ago - https://www.youtube.com/watch?v=KoGiyzPYbvs - Its an 8-bit version of Eruption - I think its fairly accurate altho I did mess up the tapping section a tad with the amount of triplets compared to the original, but there are LOADS of whammy tricks in here I was able to recreate using the methods I mentioned earlier in the post. Hit me up if you want some more detailed info on it, maybe I could show you what i'm talking about since words only take you so far

I still think that's a little different. The rules you're talking about breaking here in the case of the Waltz aren't an element of the piece itself; they guided the production (the notes will all follow those rules) but they still only apply to the piece and the writer, not the audience. The audience only hears their output, even if following different rules ended up yielding a different piece. On the other hand with games, you're literally paying for rules that will apply to you. And those rules you can't break. You can make a mod, but once you do that you're not an audience anymore; you're a creator too. And if you play someone else's mod, you're just playing something else with different but similarly unbreakable rules. Granted, breaking either kind of rule will give you a different result, but changing just about anything about a piece of art will do that. I'm not saying there aren't rules to everything else (although they're all certainly up for interpretation), I'm just saying that the rules of a video game aren't the same. This example could potentially equivocate video games and the sheet music for Chopin's Waltz since they're essentially a set of rules to be followed, but that's not quite the same as comparing the music itself. Probably shouldn't speak for Outlaw, but I imagine his view would be that the sheet music isn't art either, just a set of directions for how to create it.

And this year also marks 25th anniversary of

Not that I at all share his position that they somehow nullify a game's status as art, but I think there's a difference between those rules and the ones Outlaw was talking about. The rules in a game (touching the spikes kills you, cherries give you 600 points, jumping on the flagpole takes you to the next level) aren't the same as the understood rules of playing a game (hold the controller, look at the screen, don't fall asleep). The latter generally applies to all games in the same way keeping your peanut butter away from the piano applies to most all performances, but the former is a creative element of the game (arguably the central one). The pianist didn't create the rules, s/he just followed them. So I wouldn't say they're an aspect of the performance itself. But Nintendo did decide that pits cause instant death and that's part of their final product. EDIT: Well damn. I was literally hovering over the submit button when the notification ding went off.

I have to ask what your plan is to juggle the three albums you've started recruiting for... as someone who's directed and seen an album through to completion in the past, it took 3 years of constant effort in planning, recruiting, critiquing, and coordinating to get it done. To be blunt, you don't have much of a history with this community and from my perspective, you've posted several times starting up a remix project without really putting any thought into a cohesive tracklist, a theme or style for the album, or recruiting anywhere else within the community. Not to say that just posting a thread to gauge interest is against the rules or anything, but I've been down this road before and it literally consumed my life for 3 years while I was working on the Donkey Kong Country 3 project alone. Three albums at once is an insane and unmanageable undertaking for anyone, let alone someone who is pretty new to the community. It's not as simple as finding a nice soundtrack and waiting for the music to roll in. Not by any stretch. I don't want to discourage you if you really are serious about working on a community album project, but based on the fact that you've started up 3 separate projects over the past month, I get the feeling you haven't thought through just how much of a commitment it is. And at the very least, if you are going to do that, to be successful you really need to put a bit more effort into your post than you have here or on your other two projects, or work on establishing yourself in the community a bit more first. I'm sorry to be a dick but I feel like you need a bit of a reality check when it comes to the album projects you're starting. Hope I'm not overstepping my bounds and you understand where I'm coming from!

So, 2016 is full of Nintendo games celebrating their 10th, 15th, 20th, 25th, 30th and even 35th years. Seriously, check out the dates. Donkey Kong - 1981 (35th) Metroid - 1986 (30th) The Legend of Zelda - 1986 (30th), Oracle of Seasons/Oracle of Ages - 2001 (15th) and Twilight Princess - 2006 (10th) Kid Icarus - 1986 (30th) Pokémon Red and Green (Blue)- 1996 (20th) and Diamond and Pearl - 2006 (10th) Luigi's Mansion - 2001 (15th) Pikmin - 2001 (15th) Golden Sun - 2001 (15th) Animal Crossing - 2001 (15th) Wii Sports - 2006 (10th) Super Mario RPG - 1996 (20th) Mole Mania - 1996 (20th) Harvest Moon - 1996 (20th) Mario Kart 64 - 1996 (20th) New Super Mario Bros - 2006 (10th) As others have pointed out, it's also the anniversaries of several other video games. NOT JUST NINTENDO! Dragon Quest - 1986 (30th) Crash Bandicoot - 1996 (20th) Sonic The Hedgehog - 1991 (25th) Castlevania - 1986 (30th) Alex Kidd - 1986 (30th) Arkanoid - 1986 (30th) MOTHERFUCKIN' ARKANOID!! Battletoads - 1991 (25th) Spacequest - 1986 (30th) ToeJam and Earl - 1991 (25th) Metal Slug - 1996 (20th) Quake - 1996 (20th) Jak and Daxter - 2001 (15th) Okami - 2006 (10th) HOW OLD DO YOU FEEL NOW? Saints Row - 2006 (10th) Resident Evil - 1996 (20th) Bubsy 3D - 1996 (20th) Tomb Raider - 1996 (20th) And that's just the ones I could think of/look up on Wikipedia. I'm sure there are a few of the more obscure ones, like Japan-only releases. Not to mention the GameCube and the 3DS are also 15 and 5 years old, respectively. Damn, that's a lot of stuff that's getting old. Now I feel old... So, who wants to do 10 remix albums within the next month? Kidding! A lot of these games came out in January or February, so it's too late for any kind of massive project. But we can still show our appreciation for these anniversaries! I'm looking forward to seeing what they will do for Zelda. The new Wii U Zelda, from what we have seen so far, is looking pretty damn good, aesthetically and mechanically. But until it's out, who knows? All I know is that I still love playing Link's Awakening and I'm glad I went to the concerts they've had over the last few years. Pokémon is 20 this year! To celebrate, Nintendo is releasing the original Pokémon games on the 3DS. You can download Red, Blue and Yellow this February 27th. It's almost identical to the original versions, with one exception: it will emulate the link cable system using the 3DS wireless, so you can still trade and battle! Also, comes with a code to download a Mew for your 3DS games! Golden Sun! I never completed the second game, and I missed out on the third one for the DS, but that doesn't change the fact I loved the first game. I'm hoping for something to commemorate the first game this year, even if it's nothing big and fancy. Anyone else a bit excited for what Nintendo is planning for these anniversaries?

This is a good idea for a recurring album series....

Don't forget Resident Evil, Metal Slug and of course the game that brought platforming games in to the third dimension and changed our lives, Bubsy 3D.

I don't know how I can quote you with a straight face, @Neblix Great job not only deleting the previous "post" you made quoting Servbot twice, but also cherry-picking a section of the quote and then failing to elaborate on it or talk about the other sections. When you do that, it makes it look like you don't have a counter-argument. His point, in this article and elaborated in his first one, is that games have more in common with sports than art and that the dressings of the game are art, but not the game itself. At the same time, he acknowledges that anything can be art so if you want to believe games are art, go ahead. The best part here is that the only people being unreasonable are those who are clearly offended by the notion that games aren't art. I mean, I can see the arguments his opponents make and agree with them and at the same time agree with his argument. I'll let you guys fight it out from here since I have better things to do than worry about whether or not all the Star Wars games I just got on Steam are "art" or not.

@timaeus222 We might hit you up on that offer. I'll set aside some time this week to go through the OSTs

Mole Mania for the Game Boy also hits its 20th anniversary this year. One of Miyamoto's most obscure gems.

I say it's also really cool, buuuuut... 2016 also marks the 20th anniversary of Crash Bandicoot. And since it's not a Nintendo IP and currently owned by a very restrictive set of foster parents (Activision) that didn't give him a game since 2008, this is actually a very upsetting year for me.

Deconstructing old sequenced music and listening to the separate components is one of the most interesting things you can do, and an extremly efficient learning tool. Not just for learning how chiptunes were made, but just growing and becoming a better musician in general. Elements that sound very simple and detached on their own but fuse to become more than the sum of their parts, or just knowing when to kill your darlings (like getting rid of the root note of a chord to save channel space, which the bass is already playing anyway) is not just a chiptune thing but also arrangement 101 and ultimately a means to getting a well balanced mix (since arrangement and mixing is largely intertwined). I feel as though it's a skillset that is becoming more and more rare in today's production climate. Top-tier arrangers do this kind of stuff all the time even when they're not beholden to technical limitations. I think it's worthwhile for any musician, no matter what genre, to dabble around with chiptunes. And by that I mean specifically working with getting the most out of these constraints and not just resorting to "bleeps and bloops" which is the usual reductive thinking applied to this type of music. It's such a great way of training yourself in these elements and really start thinking actively about them overall. I have provided 2 "stem" archives for some Genesis soundtracks I find technically interesting, by just isolating the channels and rendering them into .wavs so you can load them all up in a DAW and thoroughly analyze what's going on in them. You can do this yourself using the [url=http://www.smspower.org/Music/InVgm]in_vgm plugin for Winamp with anything from [url=http://project2612.org/]Project2612 https://dl.dropboxusercontent.com/u/66640537/Thunder%20Force%20IV%20Stems.zip Notice how the rhythm guitar here is split up into 2 layers with different sounds. One for mids and one for treble. Then these are "dubbed" once again and panned (as well as detuned slightly for a chorus effect), taking up 4 channels in total to create this huge wall of guitars that is pretty much equivalent of a fully fledged studio metal production. https://dl.dropboxusercontent.com/u/66640537/Devilish%20Intro%20Stems.zip I really like how the simple PSG squares synergize with the FM bells here to create a very vibrant sound. You can also hear how the "choirs" are really the same kind of synth string section you often hear on the system, but it just has this fast upwards pitch bend in the attack which adds this kind of formant quality to it that we usually associate with voices.

This is the Willrockiest Willrock mix I've ever heard, and I love every second of it. I went in expecting epic awesome uplifting poptronica + guitars, and holy balls did this track deliver on all of my hopes and then some.

Once upon a time in 2011 (I was merely a 10th grader), dear brad had helped me select parts for my first PC I'd ever built On this day, this machine is still going strong, with many wonderful upgrades cast in over the years, like an OS SSD, GTX 970, and 32GB RAM. Tanks through the biggest and baddest Kontakt libraries and power synths, and with my new graphics card, 50-60's games like Shadow of Mordor and Fallout 4. Only a one part has ever failed (the mechanical hard drive, just last year). What's most surprising is this power supply has straight been in this machine for now ~4-5 years and is still stable. 600W modular OCZ. My GTX 460 is sitting on my shelf looking for a new use. I might sell it, dunno. Thanks for all the great help back then! I refer people to you every now and again for good reason. Any time someone asks about getting a custom PC, I say "I know this guy on OCR, get it from him."

ummm... So... WOW! Love this!! Frikin epic!! Well done!!

5-08 Banana Revolution [Flexstyle's Slam-the-Breaks Edit] (Cranky's Showdown) - Flexstyle vs. Jason Covenant, AkumajoBelmont FLEXSTYLE! VS! JJJJJJJJJJJJJJJJASON COVENANT! 'Chekan Winter' from Kong in Concert was one of my favorites of that album, so it is always nice to see Jason Covenant / Prophecy. Anyways, this track...I like the energy and the effects on the vocals, something about them just makes smile. 5-09 Cranky's Christmas Mojo (Cranky's Dojo) - Peach This song...I like it, but something that utterly baffles me is that it appeared on 2 separate An OverClocked Christmas albums. Like...huh? But in any case, I can just lay back and bop my head to the bells as the rest of the song comforts me. 5-10 Can't Boss Us Around [Original Mix] (Boss Boogie SNES) - HoboKa Listening to this version...I can see that having Flexstyle step in for the main album version made it special, but this is a fine song on its own, so I can tell that HoboKa's got talent of his own. 5-11 FrosTronix [Original Mix] (Frosty Frolics SNES) - Draconiator This may sound offensive, so if it does then my apologies, but this version unlike the above sounds like an almost completely different beast to the main album version...and yet, this one too is pretty nice on its own. A little more traditional, but like with Rocket Rave, that isn't a bad thing. 5-12 Dive (Water World SNES) - Theophany feat. JJT, prophetik, some1namedjeff, zykO JJT! His work on Kong in Concert, 'West Coast DK Island', was also one of my favorites, so I'm glad to see him back, in a collaboration no less. But this song...I'm torn on it. It is a nice piece, but it is a little hard to follow at times, as the instruments seem to be working against each other in the beginning. Perhaps that was the intent, so if it was, success, but it is what it is. 5-13 The Crystal Key Is Broken (Mama Bird) - Theophany This track, compared to the main album version, sounds a lot different, and while I do prefer the main album version to this one, this one does have its own merits. Upon listening to it, I can actually consider it a precursor to some of his individual albums and some of his OCR album contributions, so Theophany only grew over time. 5-14 Footloose Falls (Cascade Capers SNES / GBA) - Emunator And with the last track on the bonus disc, I can say that combining the two songs together really led to something special. It's really good music to just close your eyes and jam to. Favorites of this disc: Rocket Rave, Footloose Falls --- So...I'm super duper sorry about putting this off so long . I think I just lost interest or gave up because I thought I was no good at reviewing things. I've wanted to review other things, but this was always nagging in the back of my mind, so I had to finish this once and for all.

I agree that the arp feels a bit off for some reason. Aside from that, this is freaking majestic. Like download-before-the-30-second-mark good. The guitar sounds fantastic.

Said Bored_Man, almost 3 years ago. Sigh...I've got no excuse. DISC 5 - BONUS TIME! 5-01 Take the World Back (Northern Kremisphere SNES) - Acolyte I like the slow buildup, especially when the percussion comes in. Other than that...I find it actually hard to put into words what I like about this track, but I do like it. 5-02 Jitterbug System (Jungle Jitter SNES) - Flexstyle Oh dear, my foot's already tapping. I can't not imagine a dance going on when I hear this track, and head bopping is also hard to resist. 5-03 Rocket Rave (Rocket Run) - Draconiator This mix is somehow more energetic and laidback than Afterburn at the same time. Like, it seems like a faster tempo, but the instrumentation is a tad less in-your-face, if that makes sense. A bit repetitive, but that isn't always a bad thing, and the vocal countdown is nice. 5-04 Treetop Intense (Treetop Tumble SNES) - Danton F. The wind in the beginning makes me think of the original track, and the mood of this song actually is close to the original as well, a mix of pumping and paranoid. You rock, but something doesn't quite feel right, so you gotta keep moving. Guitar is NICE, though. 5-05 Joyful Jungle Jig (Jungle Jitter SNES) - Chernabogue Anyone else feel like slinking around in the dark like a cartoon character to this? No? I'm weird, but I likes the song. 5-06 Heart of Darkness (Cavern Caprice GBA) - CC Ricers Feels a lot darker than Heart of the Cave, but in a good way. Again, an urge to dance and/or headbop is strong in me in this one. 5-07 Canopy Crawl (Jungle Jitter GBA) - Evory feat. Gintokipianist Piano pieces are a nice treat in albums, whether they're slow and deliberate like Wrinkly's Nightcap or more driving like this one. Then again, my mom's a piano teacher, so I'm biased. (Continued in next post)

Honestly, your best bet would be to get a "whammy pedal" vst. They make whammy pedals that simulate whammy bar dives for guitars that don't have a tremolo arm. It's as close as you'll probably get without legit whammy samples...Lol "Whammy samples" Whatever you do though, don't over-use the whammy. Much like overusing the wah pedal, it is one of those unwritten guitarist codes.

If you intended to just do an updated remaster, then you succeeded in that. The main problem with this is if you're only performing this as just an updated version of the original, you're not going to stand out. Even a unique intro, or outro would have made a difference in being unique, and distinguishable. You're good at what you do, you know how to make video game music (at least GBA music) sound modern. However, if you don't restrain yourself to how the original version is composed, then who knows how far you could go as an artist.

It starts off so majestic, much like the original, and then the theme is kicked into overdrive. I like how you made the intro your own, because at this point, we all know what the opening of the Moon Theme sounds like. So it's refreshing to hear the beginning arranged enough to that it sounds different, while still being able to tell that it's still the Moon Theme. The rock arrangement done here is excellent. I loved the dueling guitars. They didn't try to overpower one or the other, and their performances flowed very well with the track. Great way to kick off the year ;D

Sounds really cool, except I wish the drums were a bit clearer and the guitar notes didn't just drop off as that makes it sound more midi based than maybe it ought to. I guess this is a straight remake of the original, but I can hear a lot of potential to go anywhere with it. Like a really nice dirty keyboard solo or something. Sounds like a basis for a lot of mucking around really.

"Art" is one of those words where trying to come up with a complete & concrete definition is almost an exercise in futility... "Games," however, is a word that to me conveys a general emphasis on challenge, goals, and interaction... not ALL software that provides an interactive experience should by definition be considered a game; especially with VR seemingly on the cusp of a breakthrough, the idea that all interactive entertainment software is a "game" of some kind needs to die, and I believe it will, as non-gaming virtual environments become more common for more practical purposes. So my answer is somewhat semantic; "art games" are no more or less "art" than "traditional" games... there is room for artistic expression in the traditional, goal/challenge-oriented space, and there is room for artistic expression in the broader category of interactive entertainment software.... art is where you find it, basically; I don't love the phrase "art games" because it somehow implies that art cannot be found in the mechanics of a 2D platformer, or the storytelling of a JRPG, or the soundtrack for a AAA FPS... and that for something to be "art," it has to be more abstract and/or less challenging; those are limiting & relatively elitist constraints.

Thank you! I was having some kind of problem accessing the text box because the video was taking up the whole thing. I could get the mouse pointer to turn into a text cursor, and I assumed that meant that I was hovering over the textbox, but clicking in there and pressing delete didn't do anything. But trying to paste things somehow made it work. I owe you one, Timaeus!

I did 2! ..so I didn't find the time to transfer the ones on paper to the forums. Will still be coming of course.

I did like 20. Not much, but hope it helps haha.

Made it to 57.

How have I only just seen this! I wonder if I can get 50 reviews out before midnight tonight EDIT 1: So 6 hours later and I'm at 34 (I think, everything has gone blurry...) They may be the most detailed or concise (or cohesive or in English or...) but I've tried to make each one at least 3 or 4 sentences long with some positives and some negatives. I'm going to try for the remaining 16 before midnight (children, family and New Years Eve parties permitting). Wish me luck! EDIT 2: OK so the allure of free food and alcohol got the better of me so I didn't manage to get to 50. Still; doing review has been quite enjoyable so I'm going to carry on regardless. Happy 2016 everybody!

Just hit 200. Fun month, downloaded 66 mixes. Think I need to go back to following the front page.

What Emu said, basically. The album I directed was the fruit of a year and a half of hard labor, and wouldn't have been possible without the many relationships I'd built over the course of my tenure here at OCR. Mine was a short album, too, by OCR standards, and it was still intense enough that I'm being very careful about how I approach my next directorial effort. The Undertale OST is certainly a fabulous one, but just gauging interest isn't going to get it done, and you don't want to lock up people's time if you're not deadly serious about following things through. Definitely don't direct more than one album at a time, either.

The guitar is very good, the choppy bit at the beginning was kind of awkward, but once the song started it was ok. The guitar mixing was good, and I did like that you could hear the bass without any trouble, sometimes that is really hard to do because guitars are sometimes hard to mix. Maybe bring out a bit more high end though, the guitar arpeggios were very difficult to make out. The only really big problem is the drums, which are in serious need of EQ and compression. Boost the snares at around 250hz for more punch and between 4-8khz for more texture, also at 1-2khz for more fill. As to the kick, it is so quiet, I can barely hear that all. Before you do anything, you may just want to just pump up the volume first, but not too much, since you are doing metal a slightly (emphasis on slightly) quieter kick is pretty standard. Increase the low end at about 60-110hz, and maybe a tiny bit below that but not too much there, if you have any fast double kick patterns you will get a rather unpleasant sound with too much addition there. Boost around 500hz if you need a bit more fill, but not very much, you don't want to interfere with the low end of your guitar or your bass. And give it more at about 2-8khz for the 'click' sound that makes kicks sound so good. Maybe a bit more high end on the hi-hats, but those sounded ok so don't worry about that too much. I feel so bad telling you to boost everything, but remember, moderation is key, and once you do all of that, if you hear any frequencies that clash once the drums are louder, you will probably need to start cutting some frequencies. I feel bad because I normally don't say to boost so much stuff because it's bad practice to boost a lot of frequencies, but in this case there is really nothing else to do but that. If they start interfering with the guitar though, you may have boosted too much or it may be a different frequency that is interfering once it is louder. Overall, it was pretty good, it just needs louder drums. And remember, these aren't hard and fast rules, this is just my experience. Mixing is an art, and there is a lot of room to be creative with it.

Personally I don't really like the chopped guitars at the beginning; practically speaking, it's not realistic, though it's a real guitar. Did you just record multiple separate staccato chords and insert them manually? The production is not too bad; the guitars sound good. I'd say the drums can punch through better; I can't hear the kick, and the snare is barely peeking through the guitars. Did you try adding some parallel compression to strengthen the transients (the drumhead impact in this case)? Try listening to these drums for comparison: Nice guitar arpeggios near the end at 1:55, though it was hard to hear it. Those notes were a good start to differentiating from the original.

@mattmatrice I've got it, haven't used it for anything yet... it makes micro-edits & FX extremely easy, but my main complaint is that the library is loop-heavy - you DO get a kit version of the individual sounds used in the loop variations, but you can't trigger the micro-edits & FX dynamically - you have to edit the overall pattern. I personally would prefer a solution that lets me build a pattern within my DAW, as opposed to within the tool, so I wish that the micro-edits & FX could be queued up dynamically. If you're interested in glitching/drums, I'd personally recommend a combination of something like Battery 4 - which has a huge library of usable kits - with a dedicated glitch plugin like dBlue or iZotope's own StutterEdit. StutterEdit + Battery 4 to me is a more compelling toolset than Breaktweaker, because there's more variety, you can do things YOUR way, but the (often tedious) process of manipulation/tweaking is made easier & more accessible by StutterEdit. Hope that makes sense.

I'm going to maintain this list of resources for game audio for everyone's use. In order to prevent the thread from becoming de-railed over time, please don't respond here. Instead, if you know of a resource that I should add, please PM me and I will add it to this post. Qualifications for being listed here: -Books (including edited collections) must be dedicated to game audio specifically (generic game studies don't qualify, as there are so many that we would lose focus on our specialty). They should be written by either a scholar with a degree in some field of music or an industry professional with credits on multiple video games. -Conferences must have a reasonable percentage of papers dedicated to game audio. Just because there happens to be a game audio panel at AMS this year doesn't mean that the AMS writ large is focused on game audio, for example. On the flip side, NYU's Music and the Moving Image features a significant number of game papers every year -- certainly enough that attending would be worth your while if all you care about is games. With that aside, here's the list! Again, PM me to have something added. Books (In order of publication) The Complete Guide to Game Audio by Aaron Marks, published 2001. The Fat Man on Game Audio: Tasty Morsels of Sonic Goodness by George Alistair Sanger, published 2004. Game Sound by Karen Collins, published 2008. From Pac-Man to Pop Music: Interactive Audio in Games and New Media. Edited by Karen Collins, published 2008. Playing Along: Digital Games, YouTube, and Virtual Performance by Kiri Miller, published 2012. Playing With Sound: A Theory of Interacting with Sound and Music in Video Games by Karen Collins, published 2013. Sound Play by William Cheng, published 2014. Music in Video Games: Studying Play. Edited by K.J. Donnelly, William Gibbons, and Neil Lerner, published 2014. A Composer's Guide to Game Music by Winifred Phillips, published 2014. Composing Music for Games: The Art, Technology and Business of Video Game Scoring by Chance Thomas, published 2015. Koji Kondo's Super Mario Bros. Soundtrack (33 1/3) by Andrew Schartmann, published 2015. Ludomusicology: Approaches to Video Game Music. Edited by Michiel Kemp, Tim Summers, and Mark Sweeney, published 2016 Understanding Video Game Music. Tim Summers, published 2016. Conferences Ludomusicology, held annually at a travelling location in Europe. North American Conference on Video Game Music, held annually at a travelling location in the United States. Music and the Moving Image, held annually at New York University.

Hi, I suggest you to try looking around http://www.kvraudio.com/. It's probably the best site to look for VSTi, and as far as I read Acid Music Studio 10 has no compatilibity issues with any kind of VSTi. Also, one more thing, I think this isn't the place to post this thread, it should have been in the Workshop : Music Composition & Production. I hope it helps