Leaderboard

I PM'd you. I'd like Evergreen Forest. It'll be ambient, but also orchestral with piano. Though what I have in my head never comes out exact. I need neural interfaces to be invented. To verify that would be this one:

http://media.wix.com/ugd/ebb935_109f128500324e33aac33f9a37fb6c9e.pdf This is last year's GSC survey. Has aggregate information on all the happenings in game audio/music. Salaries and such. Look at page 13, it shows the distribution of what method people used to get their last gig. You'll see for freelancers, an overwhelming majority of gigs (around 70%) are acquired through: 1. Referrals ("I'm a big name composer but I can't do this gig because I am busy. You should contact this other composer, she's really good." 2. Past project ("You did great work with us on that game. We want to work with you again.") 3. Other (conferences, networking, game jams, etc.) While job postings and recruitment are much much smaller by comparison. That should be telling more than anything how important networking is. If you build relationships both with people you work for and with other fellow composers, you've got "referrals" and "past projects" lined up in the bag. If you go out and be a friendly person at conferences, you've got "other" in there as well. Don't be stupid enough to think that in order to succeed you're supposed to hawkishly step on other composers and refuse to make friends. You're ending your career by doing that. Additionally, if you have a Facebook, join the Business Skills for Composers group. It has tons of people who've worked on hundreds of games and been doing this for decades who sit there and answer your questions. They will tell you more concrete advice and tell you stories, about how to actually build relationships and work on your people skills.

Overclocked University is about halfway done with a rendition of the final rap. If you'd want to include it, let me know

Not a problem, just PM me with the details, specifically when the album release would be and the info about when the mix was subbed.

Yes sir, works in the free Kontakt Player. Just check that v5.5.2 (latest) works on your computer. I believe they dropped compatibility for XP and some old OSX versions.

I'd recommend a follow-on EP or something, just to make sure the scope doesn't prevent it from ever seeing the light of day. Also, psyched to see @DaleNorth on board, and hope @DiggiDis does something more than lurk. As for art style... does anyone know any real-life graffiti artists? Within the confines of... legality... it'd be awesome to have the artwork be photos OF Parappa graffiti! Just a thought... could also go the extremely lo-fi MS Paint route, since that's almost the game's aesthetic

There should be an album proposal in the appropriate inbox somewhere with all the details, but the plan wasn't to release the full album on June 23rd since there's quite a few tracks in progress that we'd like to see completed. We had some ideas for a teaser to announce the upcoming album tho I'll check things with Black_Doom to make sure, the project isn't dead but we just need to pick a new date for it (we already brainstormed some ideas).

Hello, I'm the Nikanoru, retro gamer extraordinaire. I've been creeping the OC Remix website for a couple of years now, and after I downloaded my 12th remix album, I thought that I had run out of excuses not to say hi. I am a bit of an audiophile and although I am very musically inclined, I seem to have neither the direction nor the time to pursue music these days, aside from listening to it and dreaming that one day I could play like some of the other artists out there. Speaking of which, I would like to contribute with a few tracks of my own one day - any advice for this noobie composer would be appreciated. I like any music that invokes thought or feeling, whether it be acoustic, metal, symphonic, ambient, or just plain awesome. Great to be here!

A few issues I have: The guitar feels too stiff and sequenced to me. Not sure if it's just the sample or just the way it's used. Probably a combination of both. The notes cut off too early in my opinion, which may be leading to the overly stiff sound. I feel like they should flow a bit better. The articulations feel a bit off, but I couldn't tell you why as I'm just an amateur acoustic player(primarily rhythm, not lead), not an electric guitar player. Regarding the rest of the song: First and foremost it seems less of a remix and more of a cover to me, as it follows the original (shortened) version to a T, almost note for note. Dynamically, the lead guitar seems too loud, but I've noted my monitors to be notoriously misleading in the upper ranges. I can't hear too much of the background. The bass kick could be a little punchier IMO and the drum part is a bit flat dynamically as well. The rhythm guitar could be a bit louder, with a stronger bass line to give it a fuller feeling. It could simply be the loudness of the lead guitar compared to the mix though, and I always prefer a "cut then boost" method to avoid an internal loudness war where you're constantly raising the volume of other instruments to compensate for raising the volume of other instruments. I'd try reducing the volume of the lead first - listen to it on a wide variety of speakers and earbuds. If possible, try turning it up relatively loud and listening to it from a room or two away. I'm sure one of the more experienced mixers could give you a better idea of exactly what to cut and boost in the EQ department Perhaps my biggest concern is the whole EBU R 128 loudness standards - That's fine an all, but when a track has very little in the dynamics to begin with that doesn't help it much. In particular, listen to the vocalist(in any language version of the song) and how he sings in the verses compared to the chorus. It's quite a bit different, whereas your lead guitar only has one sound - "loud". During the dramatic chorus portions it isn't having much of an impact. Try skipping around your song a bit and you'll see what I mean. Without the vocals to set the mood for the song it all falls to the lead guitar, and you don't want to simply play the vocal melody with little emotion or vibrancy. Take away the vocals, and the only thing that gives a song its unique character is what the musicians do with it. I will say you've improved quite a bit from previous mixes, though. In particular, for all the issues I have with the guitar sequencing it was really done pretty well. There are some nice details there, it just needs some adjusting to sound more natural and more in tune with the mood of the song. As for the other parts, try experimenting with other instruments as well. In a recent arrangement/cover I did - of a vocal song as well - I opted to record an acoustic guitar for much of the background instead of the electric guitar used in the original, and it changed the tone of the song without changing much about the song. Little details like that can go a long ways in making the song your own while staying true to the original. Overall not bad work.