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No. No no no no no. nuuuuuuuuuuu. This is the one thing you must NEVER do, in my experience. NEVER undersell. Ever. If you're worried about "starting at the bottom and doing it for free and peanuts"... the music should speak for itself. If they like your music, they'll consider you. Doesn't matter how much work you've done in the past, if your music is what they want, they'll pay. Ultimately, doing it for free undervalues your work. Yes seems simple but it does undervalue the work, both for you and the developer, but most importantly, everyone else. See, right now, there is this general consensus from a lot of indie developers that music isn't work paying for. Know what happens when developers don't pay for music? 3 potential things. 1: Musicians actually do a good job and get screwed cause they did all that work for nothing. 2: They do a half-assed job. I once saw a track from a guy in this community on a game I helped score... it was pretty bad. Like... sample quality and mixing were vastly lower than what the developer was asking for. I looked up his stuff on youtube. Was better than what I could do, really high quality, great samples, humanisation and mixing. Asked the developer, he said the guy worked for free and was busy. 3: They just... disappear on you. This is something that developers tell me happens all the time with free people and honestly, why wouldn't it happen? They realise they don't get anything out of it, they're busy with life and just fuck off. Sad but true. See, it gives this idea that not only is music not worth paying for, but people don't give a shit anyway. I've managed to get paid gigs from people who said they only do free simply based on the fact that I promised to keep in contact and do a good job, and of course, when i've stuck to my word, they've kept me around. Depends how savvy the developer is on the whole situation tho. You pay for what you get, and if you tell them that, they'll be 90% more willing to pay you. NEVER undersell yourself.

Jake Kaufman is virt, and although he is not actively involved in OCR anymore, he does have some tracks posted here. Not this one, though. You CAN find it on the Dwelling of Duels website, as this was part of their monthly album thing back in 2004. You can find it here: http://dwellingofduels.net/duels/04-07-zelda/

What you called a matched EQ is in fact a global EQ. I just moved a lot of things between V4 and V5, and I realized this morning that I had put an EQ on the main track, killing the ultra highs and the super lows.... That was stupid, at least for the highs, so I corrected it after listening to the V4 and V5 one after another. Wait for it in V6! For information regarding my guitar tracks, there is 6 guitar tracks (Rhythm L/R, Solo L/R and Clean L/R), each one having their own FX and EQ. There is also a track for both guitar of each type, just for mixing purpose, but not EQ in here! That was the kind of things I thought about when I read your message, so I changed the EQ of the rhythm guitars, scooping some mids to give a more compact sound (plus the hi boost, it is a rather significant change). I am not sure it was what you were thinking about, but you'll hear and you'll tell me. I love the leads sounds (solo playing guitar sounds), so I won't EQ them if it's possible. I feel changing the sound may break the flow of the sequencing, feeling natural but being just Shreddage But I may boost them if I manage to find some room! Regarding EQing in general, I bought a pair of speakers today. Nothing too fancy, but I heard some bad stuff when I played my track, so I guess it will help regarding the mixing process! First, thank you MindWanderer for taking the time to comment my track! I am really glad you like this! When I compose, I tend to build stories around the tracks I work on, and often think about what would be visually happening if it was a movie soundtrack. This piece is no different, and it tells a story: First Fear of the Heavens (FotH) is the exposure. Imagine a large view of a antique city, with a huge mountain near it. You start too understand that this world is ruled by cruel gods, and that mankind is enslaved, with images of people living in slums and looking, terrified, to the mountain, with the clouds near the top magically glowing. Something may have crossed their mystical inhabitants. The Dancing Animals is the wrath of the gods falling upon the city, for a probably stupid and arbitrary reason. A lighting strike fall from the mountain setting the city on fire. Panic follows. The city burns. From the ashes, amidst the causality, a hero rise. He chose to take arms and go challenge the gods all by himself, Kratos style, to free the inhabitants from their malevolent rule. This is FotH, 2nd appearance. The solo guitar symbolizes the hero. He travels to the entrance of the temple at the top of the mountain. The Spirit of the Night djenty part is here to emphasize the increasing feeling of dread of the hero, about to face the greatest opponents ever. The solos are the bloody battle between him and the gods. Before LTfL he is in a rather bad position. But thanks to the power of love and friendship for his fellow villagers, he manage to turn the tide of the battle and finally smash his enemies (LTfL and SotN). Explosion sound from the gods dying under his rightful power. Now the power of the gods are dissipating and the sky brighten while snowflakes (well, more like gods ashes) fall from above. This is the rising arpeggios from FotH. Final sequence, everything is for the better and the hero is now the natural ruler of the city (last FotH). The end! (Quoting my friend right next to me as I wrote this: "Wow, you went really far") Whatever, the sound design was more about storytelling than quality in audio production. If you think this is bad, I will look into this. In fact, it was a nice excuse for me to have this story behind because I couldn't figure some nice transitions out. So thank you! But I'll keep the last part. As I said to the Nikanoru, I really like long progressive songs, so this ending is not a problem for me. Plus I really like the arpeggios from Fear of the Heavens and I wanted to ReMix them from the begining. I'll try the trail off technique at 4:45 and see where it can gets me. Regarding 2:33, I think I just lack some nice crash hit at the end of the double bass acceleration. I like the old-school trashy feel of the next part, so I'm not certain a sample would work. Sorry for the very long post and the stupid story-thing. Thank you for your comments. Stay tuned for the V6 (I think I'll post updates more often from now on, as I lack the hear for mixing and will need some feedback)!

Put together a teaser of some of the music on the album. Check it!

This is a pretty straightfoward source. Alot of sound upgrade possibility and practice with different sounds while sticking to the original fairly well.

I haven't been able to make anyhting recently, but I'll see if I can make one for this.