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I want to start out by saying how much I LOVE this site and HUGELY appreciate all the super awesome, talented remixxers who have given me my best driving tunes for years. There's nothing cooler than hearing hot new takes on game tracks that mean a lot to me. So, that said: Hi! I'm Rowena, from Cape Town, South Africa. My tiptop gaming franchise is LoZ, and I found this place after seeing some of the Link To The Past special album in a YouTube Let'splayer's video on Lynel fighting. I have a newb-o-rama question: if there's a game track that there's no remixes of -- specifically in this case, the Gerudo Desert theme from Twilight Princess (and I'm not sure *how* there's no remixes, but I guess it always gets overshadowed by the Gerudo Valley theme) -- apart from simply requesting it on the suggestions forum and waiting in hope... is it possible to set up kind of a call for commission or contest? I'm an illustrator, so I could offer game character art as a prize (http://faerthingpen.tumblr.com), if that appeals to anyone? Thanks again!!

Download Heretic Sinphony: http://ocremix.org/info/Heretic_Sinphony Torrent: http://bt.ocremix.org/torrents/Heretic_Sinphony.torrent Heretic Sinphony is a 6-track commissioned album inspired by the music from the 1994 Raven Software classic Heretic. It was commissioned by Emmanuel EXE, with original artwork by Tedd Leger of Mehxôhorr Artworks. This project started out with an e-mail I received about two years ago. What began with a remix of "The Cathedral" soon turned into a full-blown remix album of Raven Software's Heretic. This game is a classic first-person shooter from the Doom era, with some really good, but overlooked music. I composed and produced this album while working a full-time job (sometimes 60+ hours a week), while putting together a recording/production studio at the same time. It's been a long two years, but I'm finally glad this album is finally coming together and getting released. EastWest samples (HW Orchestra, Stormdrum, Ministry of Rock) were heavily used throughout this project, and also some 8Dio libraries (Requiem and Studio Sopranos). For the synths, I mosty used Native Instruments Massive and FM8, along with a few sounds from Sylenth1. FL Studio is the same DAW I have used for the last 15 or so years, and I still use to this day. It has great VST and sample library support and provides a super-easy-to-use interface for both arranging and automation. - Thomas Nelson (Ghetto Lee Lewis)

The People's Remix Competition 372 PRCv15-08 Hello everyone and Welcome to the People's Remix Competition! In PRC371 it was PlanarianHugger with a win by default, not for the first time this season and also not for the last (PRC372 also had a default win). The goal of this round is to keep the C in PRC, and not to change the name in PRDW (Peoples Remix Default Win). Everyone (including me) seems to be very busy at the moment but there's always hope for better times. Source: Spyro Season of Ice - Market Mesa (GBA) MIDI Source Information ThaSauce link: Click here to submit To submit a song at the compo page you can use the ThaSauce page. If you use this, an account is required. If you don't want to use ThaSauce, please upload the song somewhere else and post a download link in this thread. I recommend Soundcloud, don't forget to allow downloads to enable me to upload the song at ThaSauce. I will keep using ThaSauce as the place where all songs are located. If you want to use ThaSauce, the following steps should be done. Click the ThaSauce Link. Click the 'You are not logged in' button in the upper right. Click on 'register' (at the bottom). Read the terms and click 'I agree to these terms'. If you don't agree with them, upload the song somewhere else and post a download link as mentioned above (by doing that, you allow me to upload the song at ThaSauce. Continue the process by filling in your information. You will get a question to confirm that you're not a robot. Here are some possible answers: Name a compo: PRC Who organizes One Hour Compo: Starla Name a ThaSauce subdomain: compo.thasauce.net Who created Mega Mans: Capcom A confirmation mail will be send. There might be some issues with it (meaning that you don't get it), if that is the case, upload the song somewhere else as described above. Once registered, login with your username and password, go to the mentioned page and submit the song. If you want submit two or more songs you can create multiple ThaSauce accounts or upload the song somewhere else and post the download link. After uploading your song, please check if your song plays and can be downloaded and played without problems. Only upload MP3 files. PRC instructions The deadline is Sunday April 29th 2018 at 9:59 am ThaSauce time (17:00 UTC, 18:00 GMT), check the ThaSauce page for the exact time left. Make sure that the song is uploaded to ThaSauce or that there’s a download link posted in this thread. You may enter as many mixes as you like and work with as many people as you like on each mix. You are free to create a second ThaSauce account for that if you use ThaSauce, it's needed to be able to upload a second remix if you use ThaSauce. Of course you can also upload it somewhere else and put a download link in this thread. Do not make qualitative comments on an entry until the results of the vote have been posted in this thread. Mixers cannot vote for themselves but if they vote they receive a free first place vote added onto their score. The winner of this round may select the source for PRC374, the round after next round. The winner of PRC370 who picked this source, PlanarianHugger, can only participate by submitting a Bonus Mix. His vote is doubled in the voting stage. You can find the full rules list at this page as well. GOOD LUCK! PRC ThaSauce Home Page!

please make this happen i'd be in heaven if someone did a remix of this track!

I loved Hybrid Heaven, such an interesting game. I'd forgotten the soundtrack wasn't too back either.

I've uploaded a thing. I'll call it a thing ^^' If someone can recognise the drum machine I used for this one, I'll offer him a cookie. Hint : It's a Korg, yes.

Yay, thanks!

Now it is. EDIT: Also forgot to edit the ThaSauce links. They're fixed now.

I won't pretend to have any valuable experience to offer in your situation, but if i was to advise something, it would be not to establish your self limitations too early. It takes a while for ANYBODY to naturally start asking those questions. Just being able to isolate and analyse a single sound out of an ensemble with only your ear is a skill in itself. I'm a few years in and it's only now that i'm really thinking about music, because frankly if i had been too analytical too early then the passion would have worn out (in fact it did for a while). Years ago, I bought a theory book and began writing out fake lessons (they were planned for YouTube, because obviously YouTube needs MORE videos explaining what a major chord is haha), and i was abosrbing all this new information while doing so. I ended up with about 12 pages before stopping and i felt like i hadn't even scratched the surface. What did i retain from doing that? Mainly the formulae to build scales and chords because that was the one thing that was ALWAYS useful, but that's about it. I consistently have to remind myself how modes work, despite using them all the time, and who actually gives a fuck what a subdominant and submediant are. I can hear when notes work together and when they don't. On paper, i was getting it, but the time spent writing this stuff out was time not spent on just working towards what i was hearing in my head, which was much easier to realise by simply placing my hands on a piano or guitar. I would feel forced to apply something just for the sake of memory retention and frankly was uninspired by the whole thing, and i wouldn't even feel like i was learning how to utilise it properly. Theory rarely ever tells you how to actually apply all this jargon you're learning unless you have a good teacher right there with you, and the application is the most important part! However when i just sat down and played something that resonated with me, i would WANT to find out the theory. For example, i discovered that i naturally, in almost ever scenario, gravitate towards the Mixolydian mode when playing. It would always come through in my music, and from this i began to notice how much of the old video game music i used to listen to as a kid was also Mixolydian. Just making that personal connection was a thousand times for satisfying than learning the Circle of Fifths. Nowadays i definitely spend more time (not a lot though) reading about the "why" more than the "how". Sometimes i'll find something helpful, sometimes i won't. But asking "why" allows me to pursue the "right theory", which severly narrows the learning required, and you can gradually allow the not-so-important stuff to come together naturally over time. Patience is important in this, and i notice you mentioned impatience in a previous post. We're definitely not so different as people. Overthinking is creativity-cancer and i've been a long time victim myself. Overall when it comes to learning music, I believe that listening to what you like and imitating is the most important thing and i stand by that. That way when you're brainstorming your own ideas, you'll be applying more complex theory that they used without even realising it, and you don't have to worry about the analytics of it all until you're ready to. And you will never be completely imitating other peoples work because something will always happen mid way through the process that sets you apart, usually some form of happy accident. The key is to turn it into a happy not-accident As for your comment about motivation dwindling when it comes to the "tiny strokes", i don't know a single person who doesn't go through this. I don't believe it's possible to love a project from start to finish. Just because you care about something immensely doesn't mean you love it, or love sitting in front of it for hours every day. The two main points i've found to be consistently stressful are the halfway mark and the final stretch. The halfway mark is where you will most likely be lost for where to go next and also start obsessively fiddling with the material you already have. The final stretch is due to the fact a project is NEVER FINISHED. Perfection is impossible and even if you feel amazing satisfaction on the day you call a project finished, you'll listen to it a week later and want to change things. For example, i just submitted an OCR that i was immensely happy with. Listened to it a week later and wondered how the hell i didn't realise the rhythm guitars were too loud. Now i'm hoping they ask for me to resubmit it so i can fix it. It's natural and everybody goes through it, and i still struggle with it as much as i did when i started, maybe even more so now that i have a lot more knowledge rattling around in my head. My goal to eventually overcome this is again, consistency. Repetition breeds confidence, of which i have very little, but i do believe gaining confidence over time will make the process less stressful and the quesitons in my head easier to answer. EDIT: Btw i appreciate you creating this thread, as it's not only helped you but given me a good outlet to really sift through my thoughts and read back to myself just how i feel about these things. I've never said this stuff "out loud" to myself or really pinpointed my feelings this way. It's quite therapeutic.

My life. I'm starting to find that having more of a "leap before you look" approach to things helps. Come up with a project idea and then try to fulfill it to its full potential. You will naturally do all the learning you need along the way because your curiosities will guide you. Theory books do nothing for me unless i need them for a specific purpose. Reading through a few consecutive chapters about chords, scales, modes, cadences, circle of fifths etc just overwhelms me, because i can't possibly apply all that to the next thing i write and still have a natural flow of ideas or any amount of FUN, and without application all those concepts are just abstract, which really doesn't gel with me. However, If i'm halfway through a piece and i'm struggling to make a melody and harmony work, then it can be helpful to maybe ask myself what my notes are really doing and what my options are, and the experience is far more beneficial because i can apply my learning right there and then. To begin with, you can't easily come up with a direction for a piece unless you listen to the music that fascinates you and pay attention to the composition, arrangement, sound design and production in said music. That will raise questions in your head. "Why does that lead sound soar so well?", "Why does that melody over that chord change give me butterflies?", "How is that kick drum so punchy?". This will start your process, even if it's simply Youtubing "How to make dank kicks yo?" (Disclaimer: I can't make dank kicks). Doing this will eventually open up a rabbit hole of resources and learning; the tricky bit is trying not to fall too far into it otherwise you'll get distracted and the project will get shelved in "that folder". You know the one, with the 50 other projects you never finished that makes your stomach sink when you think about it. I think we all have that folder. So make sure you only go as far as you need to in order to fulfill the project. The next project will reinforce and build your learning further as you'll already have that base experience that you'll be applying and can afford to dig a little deeper. Don't right off the bat think "Fuck! I need to know sidechain compression! I'll never be able to do a proper music without it! All those popular people like Skrawlex and Ziggy Dog Dog use it!". Yes it's useful, but not using it doesn't make your mix unlistenable, and not every genre requires it. Unless you're trying to make a dance music-esque "pump" then the mix benefits of sidechaining are subtle and only necessary on something that repeats a lot e.g kick and bass as it's really just automatic amplitude automation. Don't think i'm understating the benefits of sidechaining though, it does make a noticeable difference that's worth it when you get a better ear for mixing. But before worrying about "mix tricks" like that, i'd say it's more important to understand general mixing practice and balancing of levels, then enhance that understanding with sidechaining. This will make you more assertive and justified in your choice of using sidechaining, rather than just doing it because other people do and you think it's helping (I'm saying all this because you mentioned sidechaning in your post above). By the end of a project you probably won't remember everything you've learned, but something i do is to just have a small notepad on my desk for "Session Notes", stick the date at the top and any time you learn something or discover something that could be important, just jot it down quickly. For example, i learned when doing my last remix that the tom drums in my plugin needed to have their release times turned down to almost zilch because they were overlapping and creating a lot of mud and resonance. I wouldn't have been able to pinpoint the toms as the "bad mix culprit" without painstakingly soloing EVERYTHING, but now i don't have to do that again and i'll have a note on how to set up my drums next time. I still don't have notes on how to make a perfect snare drum, but i have some notes here and there. Over time i'll have more and i'll start to realise what it is i actually like in a snare sound, and then crafting what i like in the future will become second nature. By the end you'll have a pile of these notes and you can flick through them to remind yourself of small things. Eventually you'll have so many you'll want to consolidate them, and by this point you will have been through a fair few projects so it'll be easier to know which notes were valuable to you in the long run. Maybe by this point you'll have experience in mixing an entire drum kit and not just the kick, for example. Why not use your compiled notes to write a mix strategy for drums and pin that shit on your wall? What i'm trying to get at is that it's more important to just "do". The learning comes with the doing. I can vouch for it as i've been doing this for a few years now and this is the first time i'm reading back a post and feeling like an actual human who kinda knows what he's talking about. Sitting, paralysed with anxiety over what i should be learning didn't get me anywhere. I'm assuming from your OP that you know a fair bit of piano. Well when i started i was just putting my fingers in random places, but it was enough to get SOMETHING down (I also cared a lot less back then). Over time i'd just hit a wall and start to ask myself "Right, how the hell do i make Major and minor chords, because this shit just ain't working for me anymore", and that was my learning motivation. When Major and minor chords weren't doing it for me anymore i started adding some 7ths etc. Simple example, but you see what i mean. The "doing" part is daunting, but not necessarily difficult. The hardest part for me personally is coming up with a defined style in the first place, which is where listening to already existing elements of your favourite tracks comes in handy. The best starting point for anyone in my opinion is to take elements you like from the genres you like and try to mash them together and see what happens. That's your ruleset established and your necessary learning narrowed down and from there you can refine your style. That's how i made my frankenstein of a debut track on OCR. I mean, I'd love to learn how to write beautifully composed scores on a piece of manuscript and conduct a symphony orchestra, but that'll only come after i learn how to make a song out of mic feedback and guitars processed through 12 synthesizers while i play with my feet! This is how you make a Doom 2016 soundtrack and change the game, guys! Mastery comes with repetition. Don't listen to the voice in the back of your head telling you you're doing it wrong, or you should be learning this or that. You can't do it wrong, and i believe it's an impossibility to somehow lose progress and get worse over time. Just keep doing shit. As @Rozovian said to me when i made a similar post some time ago... "Keep making pancakes."

This happens all the time for many different people, so you're not alone by any means. A thing to remember is the amount of exposure you have. Find a recording you didn't have anything to do with. Listen to it 100 times, and tell me you still like the sound of it as much as you did the first time. With the best made recordings, you will to some extent, but most likely not. Also, you know what your shortcomings are, so when you hear them over and over again it just kind of solidifies the idea that you have those shortcomings. People who have not heard them over and over may not even notice. For the most part, nobody will put a recording on as many times as you did making it, regardless of quality. It's also important to take into account that your tastes evolve. Sometimes you'll love something, then come back to it in a few months and hate everything about it (I can't stand to listen to my earlier work, or performances because of how much I've grown as a musician since producing them). This just means what you see as good or ideal is changing constantly as is normal. This one can be remedied by doing more listening. Music isn't as original as people think it is, and you can use this to your advantage. When working on a track, if you struggle to find out where to go next to finish a track, find somebody else who expressed the same sentiment you want to. I work with big band arrangements quite a lot, and most of the time I do more listening to others' writing than actually working on the track. There are tropes and idiomatic ways of writing that are common because of how solid they are. Don't steal them note for note, but do think critically about why they work or don't work, and see how you can apply that to what you're working on. You mentioned piano solo, I actually have the scores of all of Debussy's solo piano works handy for whenever I need to write a solo piano piece. "I want this musical idea, how could I express that? How did Debussy express a similar thought, and what textures, harmonies, etc did he use to do it?" In a jazz style I'll usually defer to solo performances mostly by Makoto Ozone and similar pianists. Don't think of it like you're piggybacking off of other musicians. When learning to talk for the first time, you didn't learn to talk in a vacuum did you? All you're doing is listening for musical vocabulary to enrich your own. I get this one entirely. I only use the default sounds that came with Logic, mainly because I can't be bothered to get anything else that isn't free. As a result I do as much with live instruments I can, which is why my music typically uses so much french horn and other brass (I'm a professional french horn player, and I have access to a good recording setup for that). I also do a lot of jazz, which samples do not do well. That said, there are all kinds of really good free sounds. An example is the Sennheiser drum library (Drummic'a) that was released for free as an advertisement for their microphones. It's definitely a solid drum sound that works for many things. You can find these things if you look hard enough. A lot of music composition and arranging is knowing how sounds work together, and the limitations of having bad sounds can spur creativity of how to work around them. More easily said than done, I know. But in college there were several times where we would have assignments like "this is a saxophone player who only has an octave of range that sounds good. Write a solid piece that takes advantage of that. Production concepts are universal. Generally basic things like compression, EQ, and reverb, and even non plugin things like musicality, balance, and arrangement used correctly can do a lot for a track. If you get solid with these fundamentals, you'll notice your sound will get better just because the sounds you have will work together better. So a really easy way to find out where to go next is just focusing on one shortcoming that you have, and learning about it. If you have a mix that sounds very loud, muddy, and noisy, look at balance and separation. If you have a mix that sounds very stale and robotic, look at humanization. If the mix lacks energy and seems very static, look up textures and orchestration techniques that can add variety to a mix. Alternatively you can sit down and say "I'm going to really nail this style in this track." Let's say you wanted to write a solo piano mix in the style of Joe Hisaishi. Do a lot of listening and transcribing solo piano works he's written (there are a lot of them because he's Joe Hisaishi). Then when you sit down to write a thing, basically take note of what characteristics he uses in his writing, and see if you can use those in your writing so that your track will sound right at home among other Hisaishi tracks. Listen, analyze, apply. Then, once you have that one, move on to something else. This applies to any style or genre. Gradually, as you do this more, you will get better and better at it and will notice that learning comes much more naturally based on what you're interested in.

The People's Remix Competition 371 PRCv15-07 Hello everyone and Welcome to the People's Remix Competition! In PRC369 it was FreakyT who submitted a bonus song. The victory was for PlanarianHugger by default. PRC is currently not in his best days, but there's always hope for better times. Source: Sonic the Fighters - Tails Theme (Arcade) MIDI Source Information ThaSauce link: Click here to submit To submit a song at the compo page you can use the ThaSauce page. If you use this, an account is required. If you don't want to use ThaSauce, please upload the song somewhere else and post a download link in this thread. I recommend Soundcloud, don't forget to allow downloads to enable me to upload the song at ThaSauce. I will keep using ThaSauce as the place where all songs are located. If you want to use ThaSauce, the following steps should be done. Click the ThaSauce Link. Click the 'You are not logged in' button in the upper right. Click on 'register' (at the bottom). Read the terms and click 'I agree to these terms'. If you don't agree with them, upload the song somewhere else and post a download link as mentioned above (by doing that, you allow me to upload the song at ThaSauce. Continue the process by filling in your information. You will get a question to confirm that you're not a robot. Here are some possible answers: Name a compo: PRC Who organizes One Hour Compo: Starla Name a ThaSauce subdomain: compo.thasauce.net Who created Mega Mans: Capcom A confirmation mail will be send. There might be some issues with it (meaning that you don't get it), if that is the case, upload the song somewhere else as described above. Once registered, login with your username and password, go to the mentioned page and submit the song. If you want submit two or more songs you can create multiple ThaSauce accounts or upload the song somewhere else and post the download link. After uploading your song, please check if your song plays and can be downloaded and played without problems. Only upload MP3 files. PRC instructions The deadline is Friday April 13th 2018 at 9:59 am ThaSauce time (18:00 UTC, 19:00 GMT), check the ThaSauce page for the exact time left. Make sure that the song is uploaded to ThaSauce or that there’s a download link posted in this thread. Note that his is one hour less the last rounds. You may enter as many mixes as you like and work with as many people as you like on each mix. You are free to create a second ThaSauce account for that if you use ThaSauce, it's needed to be able to upload a second remix if you use ThaSauce. Of course you can also upload it somewhere else and put a download link in this thread. Do not make qualitative comments on an entry until the results of the vote have been posted in this thread. Mixers cannot vote for themselves but if they vote they receive a free first place vote added onto their score. The winner of this round may select the source for PRC373, the round after next round. The winner of PRC369 who picked this source, PlanarianHugger, can only participate by submitting a Bonus Mix. His vote is doubled in the voting stage. You can find the full rules list at this page as well. GOOD LUCK! PRC ThaSauce Home Page!

man, i want to hop in here and say how much i appreciate the kind words coming from everyone in this thread. thanks for giving me your ears, your time, and your thoughts; they're humbling gifts to receive. and thanks to dave and all of the ocr staff for toiling over this site, to give video game music the platform it truly deserves, as well as the constructive criticism and undue praise you all have given to me over the years. much love everyone, and hope you all have a merry Christmas. - peter/melody

For Shizzle My Brizzle. Why ya asking? Do I seem odd or something? I mean in my opinion the message about Fl Studio is quite accurate as in personally i like the workflow of it and i recommend it if you like the workflow of it too. For example when composing, the piano roll is really awesome and quite easy to use, and the playlist really brings the whole project structure design together in a clean way which you can personalize too. But truth be told i am drunk currently as i have been for few days now even though haven't been at all for a long time. Makes me somehow more social and hence i got back to this forum too and i'm swearing and also have some American gangsta influence running through my style of translation writing as i have been heavy watcher of tv-shows and movies. I mean i speak with slang on my mother language too but it is different thing all together obviously as in it has more to do something with the location of the parts of Finland where you have learned to speak, rather than some gangsta "friend group" movements or something like that. Laughing out loud man