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Here's a thread for sharing work when it seems OCRemix safe-appropriate. Clothed, etc. I'll kick it off with a figure drawing session: =========================================================== Tonight's Drawing Club featured model Debra Haden dressed up in a sort of Edwardian dress and hair inspired by Sherlock Holmes' Adler character--amazing hair, amazing model, lots of fun! Media: Charcoal on Newsprint Poses: 5-15 minute

Battletoads (the NES version at least) was a pretty damn good looking and good sounding game for its time. Of course we have David Wise, and incredible composer in his own right, to thank for the sound. I wanted to share this because this video has David Wise talking about the process of how the Battletoads music had to be recorded, and the limitations he faced when composing music for the NES (such as how many notes David was limited to). And you also get to see him playing some Battletoads music on the piano at the end

Kuru Kuru Kururin for GBA. One of those "reach your goal" type of games with unique gameplay and appealing graphics/bg animation. Not to mention the wonderful music by Atsuhiro Motoyama.

I thought Bug! was a Sega Saturn game. I'm pretty sure we're getting our Sega systems completely mixed up here. xD Among the games I got for the PS1, I'd consider Klonoa a 'hidden gem' as hardly anyone got it, but to me it looked so beautiful and had a very unusual engine at the time - I mean, it works like a 2D platformer but the paths wind around a 3D map and could just cross over with each other at any time. The presentation looked really lovely for a PS1 game at the time, and to this day it's still one of those few games that make me cry at the end. I say try it out!

Wasn't Bug! on the Sega CD? I loved Jersey Devil! I remember it as being quite difficult, though this a 20 year old memory so I could be wrong My hidden gems:

Finally got the main body of my track arranged, now to add all the bells and whistles!* *Disclaimer: Track may not contain bells or whistles.

That's a FF NES trilogy thang Hi. I am editing in a little something here I wanted to say. Shortly after announcing this project, a facebook friend informed me that there was another FF8 album coming out soon from a different group of people. I guess I was told as a warning, perhaps because there'd be some conflict between that album and this one. I told him I didn't see it that way and I don't. I don't mean any offense to the other project, I'm sure it will have some great stuff on it, however... looking at the claims list here, I know these people. I've heard of them, I've heard their work and I know that a high level of quality will be attained with this album. So looking past the obvious thing of OCR album releases being really top notch with websites, artwork, trailers, etc... we'll still have that edge of the increased quality control, but through the project process and through the evaluation / submissions panel. I'm not "denouncing" anything. I'm going to check out that "other" album, even though I think it's going to cost money. I'm not going to buy it. But I'll preview some of it. If you were involved with that album and chose to contribute here too, that is awesome. I appreciate every artist who has signed on here for the love of the soundtrack and love of working on music in general. If I could pay you guys I would (looking at the list of claims, I'd have to be damn rich to give each person what they deserve). I am glad that your passion surpasses the idea of a measly percentage of a percentage of sales. So that's it. I didn't know about it, now I do, but it doesn't change anything, and I hope none of you are discouraged either. We'll show the world what a real FF8 album sounds like, and OCR's release package will be a thing of beauty.

@Brandon Strader, how come we didn't claim the "Game Over" theme? XD

The Legend of Dragoon...very underrated game and should have honestly been continued, imo.

I'm late to the party, but would like to claim Movin'!

Just a mouse. You're the first person to point out the oddity of my name vs avatar, though.

Yea sorry. It was originally intended to be a closing piece for the original concept, but I wasn't sure if I would stick to that especially with how much more and how much everything has changed.. But there's still a heck of a lot of time before that really needs to be figured out. So that's not a lab rat, just a regular white mouse?

Closing piece would also be an interesting choice. I'd take a crack at it and see where it goes anyway but I don't think anyone wants to hear my soundfont orchestra I'm also interested in using Never Look Back, did you listen to the updated WIP Brandon?

Whoa hey, ad hominem! Don't diss the mouse! As for that last bit, I guess it depends on the who. Someone really good with huge, creative arrangements probably wouldn't be looking to collab in the first place(barring recording for solos and the like), so that's sort of a moot point. But since you want it to be really really good and (probably) the opening piece? Yeah, I would agree I'm not suitable(alone or in a collab) for that. I assumed it was going to be a closing piece. If I get any ideas for less important pieces in the near future, I'll throw a WIP together and send it your way as an audition, if that works.

I'd love to do something with Overture, but only if I can find someone to collaborate with, as on my own I know I'm not up to the task. I'm not terribly good at huge arrangements and tend to be very conservative. Of course, if conservative is fine you can check out my Soundcloud. In particular, this arrangement of an Ecco the Dolphin song is probably one of my better arrangements(though the mixing is sort of muddy). But even if that were fine I'd still prefer a collab for quality.

Premonition is damn good. Someone like Fishy seems fitting for it.

I wouldn't mind grabbing Dance WIth The Balamb Fish, if you'll have me. I've got one ReMix posted to the site and it would probably be something of a similar style.

I forgot what that one was called too and in fact looked for it but couldn't find it, haha. But yeah, I definitely want to see Breezy covered and some of the others, it's all up to remixers choosing to want to do those. You're welcome! I'm looking forward to your mixes. I think we have the unique opportunity with this project to not do too much double, triple, quadruple-dipping with single artists because there seems to be a lot of people who want to remix stuff. I've heard your work in the past and know what a big figure you are at OCR so you can give it a go, I won't even ask for an audition, and I trust that you'd be cool and open to feedback if it comes up It was there a second ago, now it's gone! Looking forward to it

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.

Our generation hates being criticized. For anything. Ever. This same generation also has no problem throwing accusations and criticisms of sexism and racism around freely for things like a female character, gasp, having big boobs, or a non-white character being voiced by a white voice actor. This sort of thing is a major vein in the body of the Gamergate scandal. That's a far more troubling double standard, which is what many of the anti-gamergate people like to utilize and either fail to acknowledge to acknowledge their PRIDE in it. Garbage on both sides, like I said.