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There's President's Day next Monday. If you don't like Obama it almost counts!

I haven't played the NES FF games so I only know a select few tracks from 1-3 (battle themes, Matoya's Cave, etc). That being said... Just listened to it, and challenge accepted. I'll claim this track and get started today because a pretty cool idea on what to do with it just hit me.

This is the thread for questions, opinions, concerns, complaints, suggestions, and discussion about the Workshop and everything going on here. We're starting fresh with a new, empty thread so we don't have to edit the previous thread. For those interested, here's a link to the old one. This thread will not be stickied/pinned to the top of the board. We're trying to avoid having too many stickied topics from now on. This thread will climb to the top of the regular threads when there's something going on, and will disappear down the list of threads when it's not being used. Links to it will be found in the pinned threads.

When listening to SNES-SPC files, what settings do you prefer? If I'm not mistaken, the original SPC700 soundchip on the SNES was (usually) limited to a sample rate of 32000Hz, and utilized a gaussian interpolation technique. However, most SPC players allow you to select higher sample rates and implement different types of interpolation (None, Linear, Cubic, Gaussian). At higher sample rates, is the SPC file simply being upscaled, or is the data actually preserved? Do you prefer trying to emulate the Super Nintendo's limitations, or prefer the higher sample rates and different (if any) interpolation techniques?

Upload it and send me the link anyway, just in case. I won't download until the deadline, so if you replace the file, I'll get whichever version you uploaded last.

hey guys i'm back with a brandnew nfs remix enjoy

Maybe I'm missing something, Meteo, but where did you formally agree with them that all assets you produced were your IP, to be used at your discretion, and that you retained full control over your work? Do you actually have something in writing saying this? Or, do they have something in writing saying that all IP produced for the project is retained by the project and can be used as the project team sees fit? Or do you have nothing at all? It seems to me that in the absence of a written agreement saying otherwise, you breaking ties with them doesn't mean that they have to stop using music that you produced specifically for the project, even if you request that they do. Breaking a 'contract' (again, what did you have in writing besides an NDA, which, unless it was more than a standard NDA, would only be related to you revealing their IP to the outside world) doesn't automatically imply they have to stop using your work. If I were to leave my job, my employer isn't required to delete all the code I've contributed to the codebase; is your situation different, and why? If you have a good, previously-agreed-upon, reason to be sure they have no legal right to use your title theme, you could go after them legally, or not, but you're not going to gain much by going out of your way to slam them other than tarnishing your reputation as well as theirs. I know I wouldn't take a stranger's account of 'they phased me out and wasted my time' as 100% true without strong evidence to back it up; if I was hiring and someone complained in the interview or on the Internet about a previous employer, that would be an immediate red flag and they'd have to have seriously impressive skills, and be able to adequately explain why they complained publicly, in order for me to want to hire them. And if you don't have a strong reason to go after them legally, you have even less to gain by complaining. I'd say that if you want to vent anonymously in public, without naming yourself OR the company or giving any details that could really tie them to you, then do so (or, perhaps this thread is all the venting you need). But I think you stand to lose more than you stand to gain by taking things public.

This arrangement is fantastic! After about a minute of the song, I was curious how it would sound played on a harpsichord. Three+ minutes later: screw the harpsichord, you know what you're doing here! Masterful performance!

I never really noticed this thread, but I've been streaming at least once a week recently (usually on Thursdays). Not playing games or music, but I've been writing code on my stream So if anybody wants to watch some programming, check out my live coding stream once a week: http://www.twitch.tv/sagnewshreds (I guess you'd put "programming" in the category parentheses for listing this one) It's been a ton of fun and there's a surprisingly healthy audience for it that's been growing. I'll be streaming again this upcoming Thursday and I'll either be writing some JavaScript or working on some iOS stuff.

I hope the album will release soon! Isn't there some some of World Hate Day in february?

Arrangement is amaaaaaazing. Production is a bit muddy at points but the arrangement just farts all over it. Killer Studio Chops indeed. Moar. Edit: I just realised the guitarist is Bret Garsed. THAT. IS. AWESOME. If people don't know who he is, he's the guitarist in NELSON:

Mmm... I like this revision. It's smooth and clean as hell, here. As presented here it would most likely be a pass on the panel. I will say that the bass end is a little low throughout, but overall that's not too big of a deal considering how clear everything else is. Pass or resub, you should certainly give the judges this version of the track. I don't think you can switch out a track when it's already been submit, so you'll likely need to give the judges this version once your older version gets through... Unless you use something like Box.net to host, in which you sneakily switch the source before they download it, mwahaha... Er, don't tell them my sneaky secrets... Great work on it, I think it sounds great.

@YoungProdigy Aside from the subtle (and not so subtle) "jabs" at you (which, keep in mind, are essentially a bit of tough love and character building), there has actually been very useful advice given here that you can easily try (or check out) without too much effort I would think. Kat ~ Adjusting the buffer length (seeing as you apparently are already using the ASIO driver): Flexstyle, Neblix ~ Check your multi-threaded processing settings. See Flexstyle's images: [1] [2] and see Neblix's screenshot of multi-threaded processing working in FL: [3] Neblix ~ Consider spending 30 minutes learning the differences between real-time vs. CPU performance: Flexstyle ~ Try another very large sample library if possible, or load a bunch of other VSTs until you break past 1 GB and see if you still get those popping issues without using Sampletank.

What better way to celebrate Valentine's Day, than with BadButt 3: The Album!

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.

I just wanted to let everyone know that the music is complete and will be sent off for mastering sometime this week or next! Art is almost all in as well! Release date soon!

We were voting on this simultaneously. Jinx!

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.