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eh frankly, shoehorning "success" (as a function of any external metric) into why anyone does anything is part of why new artists are often so utterly confused when trying to find their own voice and why so many promising musicians end up boring cookie cutter clones. whether anyone listens to your remixes or thinks you're good at it or if it "propels" your "career" as a "musician" are ultimately very arbitrary points. furthermore, i'd wager that if the audience isn't appreciating that it's you making the music, then you're probably either doing something wrong or that was your intent all along. in other words, it isn't intrinsic that your arrangement won't be deliciously unique; it's either a choice or a failure. as for other measures of "success"... it's great that it works out for some people to where music gets to be their actual livelihood... but more often than not, i've found that particular life to be difficult to attain and, once it is, quite stressful... unless of course you're stupidly talented at it (which i am not), in which case, it's blissful... but in the majority of cases, the sheer saturation of the field drowns out even the fairly talented ones and that life just isn't very easy... unless you really do love hustling and grinding gigs and contracts as much as you love creating. right on but no thanks. and look if it's really about doing what you love... well, i do what i love and, shit, i feel i'm pretty damn successful at it too lol seeing as how i very rarely do not achieve what i set out to do (stupid fucking uber-shitty CEO track that sucks pokeballs is an example of a time i didn't haha)... and from where i'm standing, that's the best measure of "success." furthermore... i think part of why there has been such a mixed reaction to the OP is because of the second point that was made. ie: "A remix can never really be your own. It's like fanart or cosplay: You're ultimately (where OCR is concerned) just giving free promotion to what is, at the end of the day, a consumer product." LOL SHOTS FIRED - dude, that is abysmally pessimistic. it's your truth, perhaps... but it's hardly anything beyond that. as i cheekily alluded to in my previous (shit)post, nearly every remix i've ever made pretty much cannot be confused with anyone or anything else and certainly neither its source nor its creator lolllll perhaps that's because my originality, even in a remix context, is entirely my own and is my truth; that the original notes of any given remix of mine were first conceived by someone else does not mean my vision was, nor my interpretation nor my performance of it... and thus neither was the resulting "remix." at risk of sounding like a dick, the alternative is a very limited way of looking at art seeing as how a vast majority of contemporary music is fundamentally derived (a very long conversation topic for another thread no doubt) making this whole notion of "originality" something that ought to be measured OFF the sheet and not on it. ie. nakamura-sama may have composed "oil ocean" from sonic 2... but zyko wrote "the long war" and it's kinda hard to confuse the two another example: "Strange Island Eggplant" off the Bad Dudes' "Jingle All the Way" EP takes a short 15 or so second ditty from Adventure Island 2 and turns it into a fully fleshed out song fitted with lyrics. how is that not my song? :shrug: ===== tl;dr (because #zykorants) any artform, derived or not, can absolutely be "yours" (since nothing in existence actually is) if you seek it to be and learning how to do that is the real trick IMMA BOUT TO GET BBQ'D

Well, I specifically said there's nothing wrong with things like cosplay if that's what you want to do, but I likened the creative ownership of it as being the same as remixing.

It's not about whether or not it can be confused for someone else: It's about the inescapable reality that it deliberately uses someone else's work as its foundations. Not influence, not imitation, etc. Just straight up revision. That is why I will not hear an argument otherwise. There's nothing pessimistic about this — it's simply an honest assessment of what an arrangement is. If you want to be a creator, then it simply makes sense to value your own work more than revisionist ones. This is a perfectly sensible stance as to why someone like myself can lose their appetite for remixing. I created this thread to see what individual reasons are and how they differ, not to pass judgement on their reason, but have now spent three pages basically saying: "I'd just rather write my own stuff because it's uniquely mine and no one else has any part in its creation". A position I feel I've adequately justified and defended, and see no need to do so further.

Absouletely killed it as always! This is one of those tracks that are very special for me: whenever I'm too stressed or worried about something, I just play this tune, and it really cheers me up a lot From catchy groove to beautiful instrumentaion, this track is 100% solid in every aspect you can imagine. That chiptune break alone is incredible! If I didn't know it is your work, Jorrith, my first guess would be Sir_NutS, actually, so that's sayin' something, I think Special kudos goes to Mr. Shreds for his brilliant guitar chops - they certainly made the track much more varied and energetic. And also they perfectly worked in the mellow-ish outro. Nailed it, guys!

Basically, I said that it's all about what the library samples rather than how it necessarily sounds (since all the pro ones at least have good recording quality) and it's best to get this so it can be done within one patch. Even in such a case, you can still delegate articulations to separate tracks if you really want to. A barfight ensued over the second (of lesser-importance) part whereas I was expecting hell to break loose over the former. Indeed. Which is why I maintain that if one is in the market to buy a "brand-spankin new" library, or their first one ever, it makes little sense to go for one that only offers the individual elements. Reaper changed my life. Well, I actually meant a sustain/footpedal switching to the legato articulations when depressed, and all others remaining on velocity when not, but the organ-pedal switching idea would be absolutely amazing were it not for my strings presently being the only keyswitch library I use regularly!

Not fair. "Drunk Man" was made in one day and I wasn't much sober. So find 1-2 hours to make something please.

To the OP, Der_Winter: https://neobustatunez.livejournal.com/2990.html <-- If you're using Kontakt, this is how I get away with using samples from 2004, some even from the 90s. It's all about programming in dynamic expression, and using certain 3rd party scripts. Warning that the post is 11 years old and so my UI will look a bit different from modern versions of Kontakt. https://www.dropbox.com/s/n4qn3hjaqhv1rxo/GDC16_AAA_Virtual_Orchestration_on_an_Indie_Budget.pptx?dl=0 (audio examples here) <-- My GDC talk on more broad concepts of how I sequence, use reverb, live overdubs, and so on. Lots of tips and tricks and such for each section of the orchestra. FYI, normally this talk can be found in video format at the GDC Vault ( https://www.gdcvault.com/play/1023727/AAA-Virtual-Orchestration-on-an ) but it's not loading today for some reason. To AngelCityOutlaw: For some reason Pryzm tells me to tell you that I use articulation patches and almost never use keyswitching except for choir syllables (Oceania) and 1/2 vs. wholestep trills (Hollywood Strings). Keyswitching makes it harder to tell what's going on at any given point, tougher to edit individual articulations, and it can make stemming a pain in the ass if you haven't specifically set up separate tracks for shorts vs. longs beforehand. It also makes it obnoxiously difficult to orchestrate for a live recording, especially if you're working with external orchestrators. One tip that might help though - whenever I record tutti horn melodies (EastWest H.Brass), I always arm three tracks at once: Legato, Marcato, and Staccato. I play everything in realtime on keyboard, then do some manual timing correction on all three at once. Then as a final step, I'll mute the notes I don't need from each of the three. So for example, obviously for actual staccatos I'll only need the Stacc patch, for quick motion maybe I'll have Stacc+Legato, for bold notes with oompf I might keep the Legato and the Marcato, and so on. (You can see more of my brass sequencing technique in the GDC talk) Cheers, - Will

When Resonance of the Pure Land came out, the track I was most hopeful for was Flight Into the Unknown. And I, and likely everyone else, was not disappointed. It's peppy, it's beautiful, it's faithful, it's innovative... more than I could have expected in a single track. Thank you for bringing back to life the exhilaration of soaring on white dragon's(?) wings.

Talking about success and how to get successful still falls in line and relevance with why one remixes or not. So many trai... err, former remixers who no longer come here do so because their remixing skillz now pay billz, while others still look to find out how to become successful with their own remixes. Both of those things would easily answer why someone would or would not choose to continue remixing.

Results time. TheVideoGamer got 11 points and gets the last place wooden spoon. And the winner of PRC379 is Normallyretro with 14 points. Normallyretro congratulations. You are the winner. You may pick a source for PRC381. Send the source to me (with a MID/MP3 file, otherwise send a second source with a MID file) by PM, other options are PM me @ ThaSauce or by e-mailing to bambombim@gmail.com (I prefer a PM @Ocremix). Send your source as fast as you can, but before next Wednesday (26 September 2018), 10:59 AM ThaSauce time (18:00 UTC, 19:00 GMT). You may select any source for any game, but not a source with an OverClocked remix or a source which has been used in PRC before. An overview of the past PRC's can be found in the following links (I recently updated this site): http://sites.google.com/site/bambombim/prc http://bambombim.googlepages.com/PRCRemixList.doc (also downloadable via the link above).

DFW our project director is in the direct path of Hurricane Florence, although thankfully he does not live on the coast. Please keep him in your thoughts and prayers.. Rot and I are very worried for his safety and the preservation of his property. DFW has put a gargantuan amount of hours into this along with the rest of us, and I've seen his incredible family on Skype during our chats and joking around. They are in dire need of protection at this time. Please be safe DFW, and return with everything intact.. we're all thinking of you.

DJPretzel turned in his track ahead of schedule! Yes!!! And it is pretty damn amazing! Also, for those who have been keeping track of the track listing, do you SEE all that bold green?! We are looking at the light of the end of the tunnel now. This three year journey is finally coming to a close! Skies of Arcadia fans, I sincerely hope you are ready!

(Sigh) sorry guys, I hate that it has come to this, but I'll be needing to drop out of this round. Life stuff happened, and there was literally no time that I could have spent to work on my remix. If I had a WIP, I'd absolutely submit it if I could, but I simply didn't have the time available to work on something. Sorry again, especially to @Mak Eightman. I've been listening to your stuff, and I definitely think you would have won this round based on your previous entries! Maybe when I start to have more free time again, I'll try to come up with a remix for our two themes as a fun side project.