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Preview it: http://www.youtube.com/embed/UfzRXWnWxEM Download it: http://badass3.ocremix.org Torrent: http://bt.ocremix.org/torrents/BadAss_-_Boss_Themes_-_Volume_III.torrent Welcome to the beginning of the end! BadAss 3 is the final boss of the boss themes albums, so to say. Like the previous volumes, BadAss 3 consists of awesome renditions of various boss themes, from popular series such as Final Fantasy to more obscure games like Vectorman and Wild Guns. But make no mistake: this is not not BadAss 1 or 2. As with a good trilogy, the first one is to introduce people to the concept and vibe, the second part is the meanest and darkest one and the final entry is the epic finale. In Boss terms: BadAss 1 were the level bosses, BadAss 2 is the mean, tough-as-nails general you will have to defeat before you take take on the final mastermind: BadAss 3. This is also reflected in the vibe of the albums. BadAss 1 had general evil-sounding boss remixes, BadAss 2 had more of a focus on meaner, darker and grittier mixes, while this volume has epic orchestral rock or creepy mind-twisting remixes. This album won't punch you in the face with the raw power than Volume 2 had, but rather attack you mentally, by conquering your soul with bombastic powerful songs and driving you insane with the twisted ones. You WILL feel evil after listening to this. Find you inner Darth Vader or your inner Dexter and enjoy the epic conclusion of the (first?) BadAss trilogy! ----------------------------------------------------------------------------------------------- And there it is, the final entry to the BadAss trilogy. After being assistant director of the first two volumes, I was now taking the helm as project director with Alex (Chernabogue) as my trusted assistant. Since I became the assistant director for BadAss 1 (after already being a ReMixer when it was still called Crescendo to Chaos under different management), I never stopped working for BadAss. The preparations for volume 2 started just before the first volume was released, and this volume was also being worked on before the release of BadAss 2. In other words, I've been busy with directing BadAss since May 2009 (and involved as a ReMixer since May 2006); it's been a part of my life for quite some time. Of course, I wouldn't be doing this if I didn't enjoy it as much as I did! This time around, I wanted to change the genre and feel of the album a bit while still keeping it in line with expectations for a boss themes album, just like David L. Puga (director of BadAss: Volumes 1 and 2) did with volume 2. As I described it in the project thread at the OverClocked ReMix project forum: "Instead of gritty and mean as with BA2, Volume 3 will be more adrenaline-pumping, epic, and twisted. People should feel dark and evil when listening to this album. This could be done with epic and bombastic songs, but also with really creepy or twisted songs. This means more orchestral influences (such as low choirs or strings) or more dissonance/eerie arrangements." And, man, did the artists deliver! - Pieter van Os (pu_freak) I participated to the two first volumes of BadAss (one track on volume I, and the trailer for volume II), so I knew I had to do something for BA3. Pieter contacted me at the end of BA2 to help him finish the trilogy, and it was a true honor to co-direct another OCR album, with such a great team of remixers and staff members. This album also contains three new tracks from me, the biggest number I've done for any album yet! Thanks a lot to Pieter (pu_freak), Eino (evktalo), and Tim (timaeus222), plus to all the artists that participated. We are BadAss! - Alexandre Mourey (Chernabogue) When it came time for BadAss 3 to roll around, knowing it was going to be the last volume, I realized I had to really help it go out with a bang. Since it was the last volume, to me, it had to be as perfect as it can be. Seeing as how the theme was to be accomplished with epic, bombastic, creepy, or twisted atmospheres, I figured the production should also be pretty aggressive (usually), and that's where I come in. I was the mastering engineer for this album, first and foremost, but I was also willing to do the mixing for some people as well, so thank you to the people who were patient with me while I worked to mix their tracks both in the way that I would objectively be happy with and in the way that they had preferably envisioned in the end. In my humble opinion, I think that, out of all three volumes, Vol. 3 has some of the most talented and imaginative artists working together and making so many tracks that clicked nicely. I truly believe that the best of these artists' abilities was brought out during the refinement process. Even with the aggressive (or just full-sounding) final production, generally speaking for most of these tracks, I think the dynamics are still there to augment the creative, evocative, and/or immersive nature of these arrangements. It was a blast working closely on this with pu_freak and Chernabogue, and I hope to do something like this again in the future! ...Are you feeling BadAss? Will you strut like you mean it? ARE... YOU... READY?! *spazzes out* - Truong-Son Nguyen (timaeus222)

EVIL REIGNS with BadAss: Boss Themes: Volume III!! March 8, 2016 Contact: press@ocremix.org FAIRFAX, VA... EVIL REIGNS SUPREME!! OverClocked ReMix today released its 56th arrangement album, BadAss: Boss Themes: Volume III. Directors Pieter "pu_freak" van Os & Alexandre "Chernabogue" Mourey returned for this third (and final?!?) volume of epic and twisted tributes to the villains gamers love to hate. The album features 20 eerie & adrenaline-pumping arrangements of boss themes from a deep catalog of games in dark styles and genres including industrial, orchestral, rock, solo piano, dubstep, and metal. BadAss: Volume III is available for free download at http://badass3.ocremix.org. This album series was made to show exactly how BadAss these antagonists are, and honor them with music befitting of their villainy. BadAss: Volume III was made by fans, for fans, and is not affiliated with or endorsed by any of the publishers or developers of the original games; all original compositions are copyright their respective owners. "This time around, I wanted to change the genre and feel of the album a bit while still keeping it in line with expectations for a boss themes album, just like David L. Puga (director of BadAss: Volumes I and II) did with Volume II," explained director Pieter "pu_freak" van Os. "This means more orchestral influences (such as low choirs or strings) or more dissonance/eerie arrangements. And, man, did the artists deliver!" 23 artists from around the world collaborated on musical tributes to some of gaming's biggest (and smallest!) perpetrators, including: Albert Wesker (Resident Evil series) Big Bertha (Wild Guns) Colossi (Shadow of the Colossus) Dark Bowser (Mario & Luigi: Bowser's Inside Story) Dark Samus (Metroid Prime series) Deathevan (Breath of Fire II) Grahf (Xenogears) Kefka Palazzo (Final Fantasy VI) Koopalings (Super Mario World) Lavos (Chrono Trigger) Machinedramon (Digimon World) Mad Jack (Donkey Kong 64) Magus (Chrono Trigger) Metalhead (Vectorman) Molgera (The Legend of Zelda: The Wind Waker) Orbot Purple (Vectorman series) Rival (Pokémon Red Version) Slash (Teenage Mutant Ninja Turtles III) Sturm (Advance Wars) Zeromus (Final Fantasy IV). BadAss: Volume III is OC ReMix's fourth album angled toward video game villains, and the third completely focused on the dark side of gaming history, continuing down the road paved by BadAss: Volume I and Volume II released in 2011 and 2013. "As with a good trilogy, the first one is to introduce people to the concept and vibe, the second part is the meanest and darkest one, and the final entry is the epic finale," van Os affirmed. "This album won't punch you in the face with the raw power that Volume II had, but rather attack you mentally, by conquering your soul with bombastic powerful songs and driving you insane with the twisted ones. You WILL feel evil after listening to this. Find you inner Darth Vader or your inner Dexter and enjoy the epic conclusion of the BadAss trilogy!" About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. ### Preview it: Download it: http://badass3.ocremix.org Torrent: http://bt.ocremix.org/torrents/BadAss_-_Boss_Themes_-_Volume_III.torrent Comments/Reviews: http://ocremix.org/community/topic/42944-/

Honestly, the most satisfying mindset IMO when it comes to writing what becomes an OC ReMix is to write for yourself, and then choose to submit something to OCR after-the-fact. I don't write to conform to OCR standards; the OCR standards helped elevate my own personal standards. I find that once you assume that you have to adhere to the OCR standards before-the-fact, it doesn't feel right. Now, I integrate the basic framework into how I write music: be interpretive, be creative, and flesh out the piece until it can't get any better for the amount of skill I have at that moment in time.

Hell yeah!

OCR HAS RUINED MY MUSIC DREAMS. There I fixed it. Seriously though, working within some basic & flexible artistic boundaries is what brought us some of the best art the world has ever known... including a massive swath of the most iconic VGM ever written. To complain about the limitations of (comparatively) flexible guidelines such as our own when arranging music that was itself composed with (comparatively) far more specific/restrictive technical boundaries seems... odd. And by "odd" I mean "OMG WTF"... But I wouldn't use those tactless words, because I represent the site in an official capacity...

I'm still here, and still interested, but life had been crazy for me over the last year, and I never had time to even start on my track. Life is still hectic for me right now in a sense, but significantly less so; it's only bad when I'm at work, and I'm almost always able to get all my work done AT work and not have to give up hours at home. So basically, I do have time to focus on this now. That said, I'm still a low-skill musician here, at least in a production sense, so if we're aiming for OCRA now, I'm absolutely going to need help, whether that's an outright collab or just a lot of people giving me advice.

I honestly think I learned more about how to make music and to play piano than in the twenty years before OCR. Because of a need for not every song to sound the same, I needed to adapt my left hand playing (which was always the same pattern before) and mess more with dynamics, play with more emotions, and do much more. Yes, I've learned a ton about production and how to compose as well, but I think it's funny that I've improved so much in playing piano - even more than from my lessons way back

It's coming, don't worry: http://vgmdb.net/album/57533

I learned a lot of production stuff from OCR that I had to unlearn later on in order to get better at mixing

Ok, so I'm EXTREMELY HAPPY to announce some very important updates!! I've finally found a co-director! Welcome, Jorito I've found an appropriate title for this project! We'll also have a finished track with the same title soon And I'm proud to announce that now there's a visual artist on board! Odai agreed to create artwork for this album So, that's it

Woo it's out!

I'm feeling evil tonight!

Looks great!

I've got 2 other town themes in progress that might fit the bill, but since I already have quite a list of tracks and albums I need to finish first I won't commit to anything just yet. And since I already contributed 2 tracks I'm not sure a 3rd track is a good idea I'll keep an eye open though, I like the theme enough to do one more

For those still reading these forums: stop it, drop whatever you're doing and go enjoy BadAss Volume 3! Oh and be warned: you might feel a bit twisted and evil when you're done... Go! Go! Go! http://badass3.ocremix.org

Tuesday is the new Monday

I disagree with any assertion that "OCR did _________ to my music" OCR will help you learn to write more interesting and concise arrangements. But it doesn't force you to write that way any more than you have to "unlearn" how to write enjoyable, concise songs later on because OCR ruined you and those people on Youtube know what they're talkin' about, why did I ever listen to the judges when fetuspuncher13 and kardashianfan69 is around? I have to unlearn everything I know so I can go back to making something "pure"! Haha alright dude! Meanwhile the only thing you unlearn is the idea that someone helped you get where you are

Do it. You have a history of making great Sonic remixes for some reason.

Hey, that's cheating

I'm not sure it has, I don't think it has. I remember way back when I started producing and remixing I liked Trance and House music and would try creating pieces in that style, but since discovering downtempo and ambient and glitch music (outside of ocr mind you) I changed direction, and brought those styles to ocr with my accepted mixes. I still think I'm a bit all over the map with styles though, maybe ocr is to blame for that.

Funnily, I have a feeling that OC Remix changed my perception on the world rather than my actual music making skill. Back in 2003, I was a college student that saw OCR as a fun place with a fun premise and wanted to instantly interact with other fans there; turns out, it didn't feel like a safe place for a 16-year-old pencil-using fanartist and amateur fan-writer with a huge admiration for PlayStation platformers, so after failing to interact I felt as if I could just keep my core interests as a low profile and start over when the time was right (i.e. the opening of VGMix's 2nd incarnation served as that platform). Needless to say, time passed and especially within the past few years, I felt as if I opened up considerably. As for music writing though, just being aware of the wider community for some time gave me time to experiment with different ideas, see a bunch of ideas work, see others don't, try to see what's supposed to work and keep pushing to blend in, which seems to have had a hand in my versatility. I STILL experiment to this day, though luckily it's over time when I finally felt I didn't need to break the gamer that I was to still make great arrangements, period.

Larry is to blame.

OCR got me into doing music, so it changed, yeah.

HOLY ****! I'm late to the party here, but DAMN, I like this better than the original. <3 JJT, you've outdone yourself yet again.

I'm an asshole because Winter has been "done" for so long and you've never even heard a WIP, you probably won't even like it, after all this time. It's pretty happy sounding from what I remember. All it has needed was acoustic guitars (though at this point I will probably redo the bass guitar too, just so it's current) And I actually had started writing on Rumbling way back when, but it was so small that I may as well start from scratch. At any rate anything I make for you now will be better just due to being more familiar with stuff as time goes on.

**INCOMING UPDATE** Hi all. The project seems to be picking up steam now. We now have well over a third of the tracks claimed, people are chipping away at their claimed WIPs and things are running smoothly. At the moment anyway . Some people are already well on the way to completing their tracks, it seems... Remember, just because you've claimed a track, doesn't mean you can't claim another. Welcome to @Jorito @Supercoolmike and @jnWake who've jumped in since the last update. The next WIP deadline is May 1st. Put it in your calendars, looking forward to hearing what you guys have. In the next week or so I'll be working on the artwork for the album. So that'll be nice. A bit of visual reference to add to the clout of what is already, if cautiously, shaping up to be a nice album. Keep at it folks. As ever, if you want to claim a track, type here, or PM me or @HoboKa. Cheers!

To hype myself for BadAss Volume 3, I revisited the first two volumes and thought I'd give them both a "small" review And now for the second: BadAss Volume 2: Electric BadAss The BadAss takes its second form, and its stronger, more intimidating, and more….um….BadAss than the previous form. Seriously, the quality of tracks increased, the sources used combined both popular games and lesser known/underrated games. This may very well be, currently, the best compilation of boss battle arrangements you will find. The one thing I will criticize, and this is a tiny one, is that this album might intimidate those who don’t like hard rock as much. But, there seems to be slightly more representation of other genres than just hard rock in this album. Before I go to my personal favorites, I want to make an honorable mention to the track “Broken Dreams.” The main body of the track struck me as repetitive and generic, but I absolutely loved how it sampled the best of the 90s Sonic cartoons. Personal Favorites: Track 1: Baby Bowser (Super Mario World 2 - Yoshi's Island) - Bowzilla [Lashmush] God damn does Baby Bowser need a diaper change. This track is very angry, and very intense. The intro is outstanding, and I loved how the synth work in this track didn’t take away from the VERYANGRYANDINTENSEGOINGTOKILLYOU riffs. And way to make Baby Bowser seem more intimidating with those roars. Track 2: Robot Bosses (Sonic & Knuckles) - Hedgehog Fodder [Devastus] This track tricks you into thinking you’ll get a nice sounding track (just like Gilgamesh did in volume 1), and then BAM. The sirens go off, and the robots are out to kill you with more intense riffs. I love the liberal risks taken in this track as well. The original riffs really added to the track. And the subtle choirs and chanting really made it seem like this theme was fit for an army, rather than a single entity. Track 3: Teddy Bear (Splatterhouse 3) - Hunger [Mak Eightman] *From my original review of the track* I like how the distortion blends with the music. It makes Genesis music, or Genesis inspired music sound that much more hardcore than it already was. It’s very intense, insane, and those build ups are so solid. Track 4: The Combine (Half-Life 2, Half-Life 2 - Episode Two) - Mister Freeman [Justin Lassen] I mostly appreciate this track for how different it sounds compared to most of the other, rock heavy tracks. It’s slower, more synth reliant, with a dash of a haunting orchestra bridge. Reminds me of something Trent Reznor would do. Track 8: Dr. Wily (Mega Man 1, 3) - Top This [Flexstyle] *From my original review of the track* I can just see a DJ coming out to stage making a grand entrance at the very start of this track, and then saying into a mic “top this” right at the 0:29 mark. The percussion and bass work is outstanding. I want to dance to this, I want to jam to this, I want to rock out to this. The production here is……ahem…..top notch. Track 12: Ultimate Phalanx (Demon's Crest) - Red Retaliation [Torzelan] I love Demon’s Crest, and its soundtrack. I would have loved the final battle theme, if it didn’t last 16 seconds before looping again. That’s what makes this track so brilliant. These guys found a way to take a 16 second track, make it their own, add awesome lyrics to it, and stretch it out into 4 and a half amazing minutes. Whether you like this genre or not, anyone who aspires to arrange video game tracks should listen to this. Mainly to see that yes, it IS possible to make creative arrangements from original sources, no matter how short the source material is. Track 13: The Great Mighty Poo (Conker's Bad Fur Day) - Poop [Brandon Strader] Man, I don’t even know if anything I could say about this track would do it justice. The Great Mighty Poo theme was already an excellent track, and Brandon Strader somehow made it even better by making it a dark comedic rock opera. Track 14: Dr. Robotnik (Sonic the Hedgehog 2) - Egg-Shaped Prison [David L. Puga] At first I thought this album should have ended with the previous track, but by the end of the track, I was content with this being a good track to end the album on. It’s a nice take on the Sonic 2 battle theme, and whether intentional or not, the distorted ending does a good job making you think “is the BadAss onslaught REALLY over with?” Spoiler alert: It’s not

Copying melodies is fine and all but if you really want to learn to play keyboards you should take care of finger positioning, especially when you're beggining to play. It's very common to see people who use like 1 or 2 fingers to play because they never learned proper positioning. You should also take care of your wrist positioning since a wrong one can be pretty hurtful. Your hand should never be below the keys, and you always want your fingers arched down to play the keys (like the 1st pic below). Sadly I don't have any book to recommend but I bet there are plenty tutorials on YouTube haha. I'd recommend watching stuff on hand posture and finger positions for scales and stuff. Of course there's also learning how to play with 2 hands at the same time but most exercises should cover the basics of that.

Okay, I'll bite. Sign me up for Mountains. I expect to do an orchestral/rock hybrid, it's screaming for some dark guitar chugging!

Nice to see it back! Maybe I'll claim something once I'm done with my current load of projects (something more obscure like from a Digimon RPG game).

I have lurked on this site for probably ten years on and off. I finally made an account to post how stellar I think this is. I got chills all the way down my body listening to it for the first time. As soon as the synth poked its head out. I'm not super well-versed in the technical aspects, but it sounds incredible and also incredibly appropriate. I evaluate Zeal mixes by whether they would sound out of place were I actually physically walking around Zeal. This one is perfect.