Leaderboard

The other Ghost In The Shell movies, for one. Gundam 00 (Not cyberpunk, but futuristic and I'd argue the best Gundam storyline) Batman Beyond: Return of The Joker (Cyberpunk as hell, also I swear that the TV series is the best Batman thing EVER) Never seen it, but Appleseed is very Cyberpunk/futuristic looking. The Animatrix Bubblegum Crisis 2040 (The last half of the series is kinda lame, though) Macross Evangelion Titan A.E.

I'm not really sure of the protocol with comments and responses, since this is all fresh for me. @nitrozsz First, your guess is as good as mine regarding the emotional shifts/representation in the track. Normally I'd be very conscious of those kinds of things, but I was in a bit of a fog doing this one. It's certainly clearer in retrospect for me, and I can't say you're far off in your estimations. It's all storytelling, and finding your own narrative is part of the adventure. Second, everything you pointed out as nitpicks were all issues I had with it as well. The choir synth was my backup because the other was on the fritz for whatever reason. The mixing of the drums bothered me then, and still does. I'm just really revisiting the track now, since I hadn't thought about it for a long time, and there are a bundle of things I take issue with. But the structure and sort of emotional core/pacing of the piece hold up, so I'm pretty satisfied with that. The Jeremy Soule comparison is interesting, and certainly flattering. I saw that one of the judges - @Chimpazilla - ask if the piano section you also mentioned was referential to Midna's Lament. While it clearly does not utilize the piece melodically, it was certainly intended as an evocation of the way that theme breathes, to further transition the track as it builds towards a release (when the drums come in). Finally, thank you for the criticism, as well as the praise. It's very cool, indeed, to have thoughtful considerations of something you create.

Session musicians are fine. DarkeSword's logic makes sense: having access to a musician is like having a sample library.

Incorrect, wrong, false. Batman: The Animated Series that came before Batman Beyond is the best Batman thing ever. Though Beyond is super awesome amazing as well.

Compo: MnP (Meat 'n Potatoes) Round 48: House of the Dead 2 - Emperor Type Alpha Midi: http://compo.thasauce.net/files/materials/MnP48_Hotd206.mid Youtube: "Did you know that there are no remixes for any of the House of the Dead games on OCR? Such sad. As such, here's Emperor Type Alpha theme from House of the Dead 2 on the Dreamcast. I'm not sure how it'll be received as an MNP source, but if we all played it safe all the time where would we be, eh?" -Trism Deadline: Jan 27th Wed 1PM Vote Ends: Jan 29th Friday Midnight Submit your remix Here when completed. **If you have technical difficulty with account activation at ThaSauce, please contact me via PM and I will submit your track and will also tally your vote** MISSION STATEMENT The goal of Compo:MnP is to promote that "meat and potatoes" conservative approach to remixing: this includes the mood and composition of source tunes. It is up to the remixer to create their own personalization, or to simply give it a sound upgrade. Moreover, the compo is a great opportunity to hone your remixing skills and give video game music the respect that is due. SOME reinterpretation is recommended, but not required. MnP Instructions/Guidelines 1. Covers and Sound Upgrades are permitted. 2. Most or all of the source notes must be present (but not necessarily in the exact same order), secondly the mood (energy, pacing, feelings being conveyed etc) should also be retained. For example, a source tune that is fast-paced and energetic that's remixed into a mellow/chill-out theme would be a hard sell. 3. If you decide to do a genre swap (i.e. symphonic to techno), make sure that the conditions of #2 are met. 4. Submissions must be at a maximum of 20mb (keeping in step with ThaSauce's file size max). 5. Only 1 entry per participant. Previous winner cannot participate but can submit a BONUS entry. 6. All competitors and voters must adhere to the rules stated within: Competition Code and Conduct MISC/TIPS - When picking a source tune, make sure it has a MIDI to make ppl's lives easier. - In-game sound FX are permitted, so long as they don't comprise the whole track (i.e. replacing entire MIDI tracks with just sfx)

Im looking to find more cyberpunk or futuristic anime or even just animated films. I recently decided to watch Ghost in a shell and found it to be interesting. I also enjoyed Akira and Im a fan of Mirrors edge, so that should give you some idea of what im looking for. That said, what kind of recommendations, if any, do you guys have?

No one's mentioned Blade Runner because Esperado is asking for animated movies.

Exercise generally improves your mental health a lot, which is really good for creative output.

Adding to the list of recommendations (though I personally prefer the original Bubblegum Crisis over the 2040 one)... -Armitage III -Iria: Zeiram the Animation -Dominion: Tank Police -Key the Metal Idol And for something that isn't quite as old as the others already mentioned, the first season of Psycho Pass.

Hello! You saw my take on these over at the RadioSEGA forums, so you know I'm on your good side However, two things I should just point out really quickly: 1) What do you mean by "recognized by Sega"? I've done some google searching and the only main promotions I have seen have been exclusively you posting it on various Sega fan-sites. I don't even know if Sega themselves shared it themselves or not, but from what I have seen, there doesn't seem to be any evidence of that. 2) Take note that if you submit the vocal covers to the OC Remix judges, they would be instantly rejected due to just using the original recording and singing over the top. I say you should consider this set of covers as practice for when you start performing them on top of other backing tracks, whether made by yourself or produced by another arranger. You did however showed me you're able to make arranges of your own, so I'm optimistic that you'll be able to keep pushing them up to that same level. Just keep working on new stuff and learning from each one, and everything will be alright

Noooooooooh, he's a precious resource that you have to use sparingly! Although I do not rule out I might ask him (or any one of the other 14 people I collab'ed with ;))

Tuberz McGee on every track.

This sounds like something Chris Hülsbeck would have made. The fact that Chris is in the file name also lends credence to this. He was involved with developing audio compression technology for the GBA which was licensed out to various developers.

I received a WAV from Skrypnyk, and that's simply how it ends, i.e. it's on purpose.

Figured that since the Youtube link had the intro picture-title on it, I'd use that for the round's picture. It's the simple things in life

Same here. I was super slack when it came to PRC's last year and and want to get much more involved in this season!

I enjoyed the video, but I have something to counter your first proposal. For instance, when you say that in a looping track the end "should be relatively similar to the beginning," what exactly does that mean? Why not end your looping track on a half cadence leading back into tonic, which would make the end quite different from the beginning? I suggest that loops should instead "lead back to the beginning" -- in what fashion that relationship occurs is up to the composer. See the Super Mario Bros. World 8 map screen for a quick and dirty example of this. It's a series of chords that leads back to tonic, but it does not arrive there until the beginning of the loop. Putting a tonic chord followed by the same tonic chord would serve to highlight the repetition, the very thing you want to avoid. As for reverb trails and not exporting to MP3, that is good advice for a person just getting started with this -- keep it up!

First, I wanna get the nitpicks out of the way. Sometimes, the choir sounded a bit too synthesized and unnatural to me. And the instruments playing the low chords at 1:39 - 1:52 sounded a tad too hot. The drums, while okay when they were first brought in, didn't sound like it could keep up with the energy of the guitar once that was brought in (and at times, it's kind of hard to hear the drum work). Those nitpicks could be just me though, as they don't take away from how wonderful this sounds. I saw on the YouTube upload that someone compared this to the musical style of Jeremy Soule. And I can totally hear that comparison in this arrangement as well. What really sold me on this arrangement was 2:33 - 3:09. That piano sounded so natural, beautiful, and mesmerizing. The rock ballad ending was quite interesting, like more than half of this track was building up to that finale. I can't say what emotions you went through when producing this (and feel free to correct me if I'm wrong), but it almost sounds like the rock ballad part was representation of encouragement and uplifted spirits after the more sorrowful sections that preceded it. That's what I got out of the structure at least, based on what was written in the bio. All in all, I am amazed with what you were able to do with the Temple of Time theme, which always struck me as one of the most basic/least interesting tracks in Ocarina of Time. Definitely a great debut for you.

Dont even know the source, but ill try to slap something together. Part of me wants to give it a serious go at competing in every PRC round, afterall, practice is how you improve.

My branch needs more stacking please, not stacked enough, haven't touched the moon's surface yet.

Apparently, I missed this signup and source, but alls I got to say is, "fuck yeah"

Was pleasantly surprised the remix period is 2 weeks, where I expected one. That makes my remixes less of a rush job so that can only mean they will be better quality, rite?

To my fellow remixers: On behalf of me and the underrated game that is Castlevania 64...Enough talk, you miserable little piles of secrets. Have at you!

Get your sigs here people: LINK -- And re-up the sigs elsewhere

^ so true it was clear from the moment the very first teaser appeared (and those who weren't already in the know because they had been stalking lucasfilm for the past decade), that there was going to be no way to avoid the two issues either directly or indirectly causing some folks to whine endlessly about the movie. the leads are a girl and a black dude. now that the initial shock wore off, the same people are finding new ways to bitch n moan about the movie while really still expressing the same asinine discomfort. here's the problem: this is the first completely non-lucas SW film and as such, it definitely feels different and so it is unsettling in its own subtle way. it just doesn't feel like a star wars movie even though it totally looks like one (for the most part). but the thing that's driving everybody up the wall isn't that TFA suddenly has illogical nonsense that couldn't happen in any universe we know (i find it amusing that people complain about physics in a SW film...) : it's just that subconsciously they're just pissed off the black dude has a crush on the androgenous looking chick who just wooped up the dude they wrongly thought was a sith lord. look, the movie's got its faults. so did the other 6, some more than others. the biggest flaw with TFA (if it can even be called one) is that it is too conservative in trying to undo lucas' incredible boldness in making the prequels the way he did. i've been defending the decision to start safe in order to go buckwild in 8 and 9 but let's face it, if there is a criticism there it is. everything else just sounds like a bunch of entitlement and latent misogyny and racism. she beat kylo because he was never that tight to begin with. smoke n mirrors. his training under luke was stunted early, he clearly doesn't get much training from darth snookie who's basically focusing on surviving and other than killing two old unarmed men, is otherwise all about scaring people with a mask he doesn't need, an all black getup and thrashing a bunch of inanimate objects. the only cool thing he does the entire movie is stop a blaster shot but that isn't shocking because he's the superstar son of superstar heroes and has anakin blood coarsing through his veins. of course he's got raw power but he's also completely green. oh and he also go shot in the abdomen with a BOWCASTER THAT HAD BEEN LAUNCHING EVERYBODY ELSE. my point is: nobody wants the girl to beat up the boys and nobody wants a black dude to get the white girl (flaaaaaaame me lol) (filet me)

Whoever made this needs to learn 2 grammar, but relevant all the same.

I'll be there!

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.

@Geoffrey Taucer You'd be correct if it was implausible that they'd still be around. But considering they were Luke's droids it makes sense that they'd be serving Leia and the resistance. Yeah, there's no reason to have them in... besides R2 being in the flashback with Luke and Luke always traveled with R2 because of the Skywalker-R2 relationship and C3PO is emotionally inseparable from R2... but there's no reason... *not* to have them. I don't really think this "no reason" talk gets anywhere. They were put in the movie to make people happy, and what's wrong with making people happy? That's what it did. Especially the scene with R2 and BB8, it was fucking adorable. I've been to the other side of this whole critical analysis thing and it often devolves into exaggerating big problems out of small annoyances. Probably the only legitimate complaints I've heard about the movie thus far is that the score isn't as vibrant and memorable as it was in the prequels, and it parallels A New Hope too much. Almost every attempt I've seen of people finding plotholes or inconsistencies is either them not paying attention to the movie or not understanding Star Wars, because the movie either explains everything, uses something explained in the originals, or is setting it up as a cliffhanger explanation in the next movie. You're pretty much wrong and that Fin was not even close to Jar Jar. He had motivations, funny dialogue moments with Han Solo, and caused emotional tension with Rey. This movie had heavy themes of running away from the conflict all throughout, and Fin was the driving exemplar of it. His acting was amazing too. I slightly disagree with Bleck and I think Rey was a stronger character, but Fin was definitely very strong too. Seriously, I suggest you rewatch The Phantom Menace to see how bad of a non-character Jar Jar Binks is. It's not a valid comparison, at all. @The Damned As soon as the bridge came up, I knew someone was falling off. Harrison Ford speculation aside, I think killing Han Solo was a worthy counter balance to the fanservice.

Rebuttals to the criticisms; 1) Finn is the best character in the movie. 2) It's gonna break people's brains to consider this, but Adam Driver's performance is inspired by Hayden Christensen's in the prequel. Stiff and petulant, and meaningfully so. Kylo Ren is a character who doesn't understand Darth Vader, written by people who do. 3) All of Star Wars functions on coincidence, which is not surprising for a series wherein there's a metaphysical force that connects everything in the universe. It's even called the fucking Force, dude. 4) It's easy to criticize fictional characters for building bigger and better weapons constantly, but that actually happens in Real Ass Life, so? 5) Ren is already injured when their duel begins, and it's also implied that his training (from both Luke and Snoke) is incomplete.

I saw The Force Awakens last night and I'm so incredibly excited about Star Wars being BACK. The movie hit all the right notes for me. Really great, strong characterization, a fantastic, emotional storyline, great action sequences, and wonderful humor in the style of the classic trilogy. I cheered a lot while watching the movie. Han Solo in particular was just fantastic and exactly as snarky and funny as he was in The Empire Strikes Back. I was so sad to see his fate, but it was a great scene between him and Kylo Ren. I'm really intrigued about Rey's storyline. I'm subscribing to what is probably the prevailing theory that she might be Luke's daughter. All of the stuff with Anakin and Luke's lightsaber and the reaction Rey has to it when she holds it leads me to believe that she's a Skywalker. I really wish I could just watch Episode VIII right now because the mystery surrounding her and Luke is killing me right now. Finn and Poe were great. I love how they immediately became bros, and there were shades of Luke and Han's friendship between them. Another thing I loved about this movie was that, like the original trilogy (and lacking in the prequel trilogy), there was a really ancient, lived-in quality to the galaxy again, especially on Jakku, with all the old broken war machines laying around. This movie finally treated the Force the same way that Yoda spoke about it in The Empire Strikes Back: it wasn't a scientific phenomenon like it was in the prequels, and it wasn't just a substitute for magic like it was in a lot of old Expanded Universe material. There was a really mystical quality to it. I have a ton of other thoughts but can't really collect them all. I'm going to go see this movie a couple of more times so that I can unpack it more.