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I have submitted Star Fox: Double Wing Damage to OverClocked Remix project panel. Now all we must do is wait and see what's next! Great job, everyone! I am so proud to have worked on this album and I'm appreciative of all your support and hard work! Everyone did awesome! We did Fox McCloud proud!

EDIT: Forgot the most important part... record scratch. Updated wip below. Katamari Stars 2025-06-24 2253.mp3 Source:

Congratulations! I missed an epochal event( I joined OCR sometime in 2010. It was an unexpected discovery! In fact, I got access to the Internet at the end of 2009 (I live in a village). The first thing I started looking for on the Internet was music.. I came across this place through tindeck when I was looking for something like covers for Contra Hard Corps. And Google gave me an artist like "Death by spoon" (AMT). My search led me here. What I found here blew my mind. I didn't even imagine that such a place was possible. Ironically, at that time I didn't find any CHC remixes on OCR, but I did find Sixto sounds, goat, Snappleman, lvl 99 and many others (sorry if I didn't mention you). I've learned a lot here. I'm thankful to this place and people who helped me in advice and direction(Rozovian is the best BOSS ever!) Of course, I had some complaints. Something I still don't understand here) But I liked this place and I hope to come back to this stream.. Thank YOU OCR PEOPLE!

This just popped up on this 8Track. I used to listen to this all the time, and 20 years later it's still one of the best on the site. Completely reactivated something in my brain, hearing those opening notes. Wow.

Watermelon Flava was on my shortlist!

Project Director: @Darkflamewolf (Director of Arcadia Legends, Mizar Attacks!, and SeeDs of Pandora) Project Concept: After much prodding and poking by a multitude of people/remixers, wanting me to get this Star Fox album project off the ground, I decided it's high time to get the pitch started! Hot off my take on the SeeDs of Pandora album, I figured we could do a similar thing where we had 'themed' discs with tracks that best matched the core essence of what the disc was aiming to be. However, since I'm not sure the overall interest and response to this album, I'm not going for a large multi-5-disc album like the FF8 one. Instead, I'm going to start off with a smaller 2-disc scope and see if we expand from there or get enough tracks to fill the entire ambition. To sign up, you must join the Community Remix Album Collaborations Discord server. We use it to communicate between all members on the project and makes things insanely easy to coordinate and keep track of the project as a whole. Once there, you can find the Google Form to submit your claim on a track and be part of the project! Discord Link: https://discord.gg/CtJ2a8kjRy The two Disc types*: - ACTIVE: You can interpret your chosen track into any genre/type of music you want, but it needs to maintain the frenetic feel of the original track. It's basically giving the Star Fox fan more of what they want. They got a fast-paced, edge-of-your-seat Corneria theme? Well, we'll give them that and THEN SOME. Keep it active! Make it hard, fast, loud, crazy - go wild! These are tracks I want to really turn my speakers up high and just rage/rock out to! Let the walls pound with the beat. Note: But what if you want to remix a slower song from the OSTs into a crazy, active style? YOU SURE CAN! If it is active and fast, it belongs on this disc, regardless of the original source tune. - INTERPRETIVE: This disc is for everyone not looking for those crazy times, but wants to explore the melodies and themes beyond their original incarnations. Complete freedom of genre, style and mood. You can stay within the genre/style/mood of the original track or you can go off in wild new directions with it and remix it in a way nobody has ever thought of. Can we have active tracks on this disc? Sure, but those probably won't be the focus, but that's not stopping you from making some beats. This is truly the 'freedom to remix' disc. So, if the first disc was giving Star Fox fans more of what they loved, this is giving something they never knew they needed! Be unexpected! Don't repeat what has been done before - do something fresh and new with these tracks if you can! * - More discs and their types will be added depending on how big this balloons as a community project. --- QUESTION: What if a track has already been claimed by another, but it's for the ACTIVE disc and I want to do the same song more INTERPRETATIVE, can we both claim it? ANSWER: YES! However, this is the only instance doubles can exist. We can't have two Star Fox 64 Corneria's on the ACTIVE disc, but we can have one Star Fox (SNES) Corneria on the ACTIVE disc and one Star Fox 64 Corneria on the INTERPRETIVE disc. One variant per disc. Likewise, each Corneria theme is different from game to game, so we CAN have Star Fox (SNES) Corneria on the ACTIVE disc and a Star Fox 64 Corneria on the ACTIVE at the same time since, if you listen, they are different themes for the same place - this also applies to any track claims on the INTERPRETIVE disc. QUESTION: What if a track I want to claim isn't on these track listings? ANSWER: Then when you fill out the Google submission form on the Discord server, claiming a track, request it to be added to the list and that you're claiming it! --- TRACK LIST I am listing all available tracks from all Star Fox games, but that does not mean they all need to be claimed/covered. We'll take whatever we can get, but this album is meant to be a tribute to the series as a whole, thus the entire listing. Star Fox (SNES) 2 - Course Map Select - @Hemophiliac 3 - Corneria - @bLiNd 4 - Meteor - @Xaleph 5 - Titania - @Rotten Eggplant 7 - Asteroid/Venom-Orbital - @Rockos 12 - Venom Base - @bLiNd 15 - Black Hole - @Xaleph 17 - Controls - @ZackParrish 18 - Menu Theme/Map Theme - @APZX Star Fox 2 (SNES) 6 - Titania - @GlacialSpoon Star Fox 64 (Nintendo 64) 1 - Title - Tim Hellman 2 - Select - @Thirdkoopa 7 - Sector X - @Flake42 8 - Zoness - The Vodou Queen 9 - Area 6 - The Vodou Queen / @Thirdkoopa 10 - Venom - The Vodou Queen 15 - Aquas - @Ridley Snipes / @Treyt 17 - Boss A-C (Any theme or multiple medley) - Pixels and Paradiddles Star Fox Adventures (Gamecube) 4 - Krazoa Palace (all variants) - @Treyt / @Rockos 5 - Krazoa Shrine - @mo.oorgan 8 - Thorntail Hollow (all variants) - @ZackParrish / @Emunator 23 - Dragon Rock - @Emunator 27 - Snowhorn Wastes - @Rockos / @gravitygauntlet All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you. Star Fox Assault (Gamecube) 17 - Aparoid Homeworld - @Xaleph 23 - Titania - @Xaleph Star Fox Command (Nintendo DS) All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you. Star Fox Zero (Wii U) 23 - Fortuna (all variants) - @Xaleph All variants means you can take any and all segments of the theme and mix and match. Use all or use a few, up to you. ------------------------------ Our Official Track List Sortie One - Corridor Mode 01 - Theme of the Star Fox - Tim Hellmann (Star Fox) - 3:42 02 - Sweeping Elipse - Rockos (Star Fox) - 4:43 03 - Venom Pulse - bLiNd (Star Fox) - 4:11 04 - Fighting Storms in Titania - Rotten Eggplant (Star Fox) - 4:23 05 - Initiate Code Blue - Treyt (Star Fox 64) - 4:18 06 - Playing Crazy (with the 6th Blockade) - The Vodoú Queen (Star Fox 64) - 4:45 07 - Cries from Crystal Eyes - mo.oorgan (Star Fox Adventures) - 6:54 08 - Arwing Dreams - bLiNd (Star Fox) - 4:55 09 - The Hardest Path - Pixels & Paradiddles (Star Fox 64) - 5:44 10 - Dark Star - Xaleph (Star Fox) - 5:17 11 - Dunes of the Lost - GlacialSpoon (Star Fox 2) - 3:44 12 - Spectre - Treyt (Star Fox Adventures) - 3:44 13 - Meteoric Slipstream - Xaleph (Star Fox) - 6:05 14 - Fortuna Protocol - Xaleph (Star Fox Zero) - 3:25 15 - V.I.R.U.L.E.N.T. - The Vodoú Queen (Star Fox 64) - 5:07 Sortie Two - All-Range Mode 01 - A Hollowed Day - Zack Parrish (Star Fox Adventures) - 5:07 02 - Space Shine - Austin "APZX" Simons (Star Fox) - 3:24 03 - The Perfect Aparoid Dinner - Xaleph (Star Fox Assault) - 3:49 04 - The Death of Fox McCloud - Lucas Guimaraes (Star Fox 64) - 4:40 05 - Wing Men - Hemophiliac (Star Fox) - 3:09 06 - Now Boarding Flight 6 to Venom Lucas Guimaraes (Star Fox 64) - 3:02 07 - Weapon Warp Punk - Flake (Star Fox 64) - 3:46 08 - Free as a Bird - The Vodoú Queen (Star Fox 64) - 5:34 09 - Boundless Skies - Zack Parrish (Star Fox) - 4:30 10 - Bazooka Polace - Rockos (Star Fox Adventures) - 5:45 11 - Ballast - Ridley Snipes (Star Fox 64) - 3:44 12 - Rock and Ice - Rockos/gravitygauntlet (Star Fox Adventures) - 4:59 13 - Sands of Titania - Xaleph (Star Fox) - 4:54 14 - Eyes of Obsidian - Emunator (Star Fox Adventures) - 3:58 15 - Hollow Nights - Emunator (Star Fox Adventures) - 4:57 Reference Links: Star Fox OST: https://www.youtube.com/watch?v=byIjMomjWkA Star Fox 2 OST: https://www.youtube.com/watch?v=oODu0MAG9l8 Star Fox 64 OST: https://www.youtube.com/watch?v=8FdW6cTHs4c&t=1s Star Fox Adventures OST: https://www.youtube.com/watch?v=RSE3q9ktpy8 Star Fox Assault OST: https://www.youtube.com/watch?v=b9naJ4i6fO8 Star Fox Command OST: https://www.youtube.com/watch?v=xiEfudt7Vy4&t=1s Star Fox Zero OST: https://www.youtube.com/watch?v=55N8LLKYIy8&t=1s

We removed this entire Review system from the PYGR forum years ago. It was not really used, placed a lot of stress and pressure on a small number of staff members, and just added a second, completely extraneous layer of bureaucracy to OCR's pipeline. Overall we're de-emphasizing tags across the forum. Most people did not use them in any meaningful way.

Cool instrumentation choices. If you can get it sounding more fluid/humanized, the concept has legs. :-)

Enhanced sound experiment with mono/stereo signal sources and mono/stereo reverb effects ------------------------------------------------------------------------------------------------------------------------------------------------------------------- I've probably taken my time with this, although this undesirable lobbyist government in my country is also producing a lot of problems these days (to cut a long story short: neoliberal bullshit politics >>> approval of a really hefty 500 billion euros primarily for arms companies, the military and war >>> in return, massive austerity measures for public and municipal budgets as well as a considerable reduction in public contracts mostly for critical infrastructure and the most existentially necessary things >>> mass redundancies at companies, including mine, which had primarily specialized in public construction, planting and vegetation maintenance contracts >>> I was also laid off after no major construction contracts had been recorded since the beginning of the year and my company had only been able to pay wages in chunks for the last few months >>> yeah, it radically sucks... once again). But apart from the not entirely voluntary job search, I can at least take all my remaining vacation these days and, after creating 4 different versions of my Crisis Core remix and doing the final checks of the audio samples on various audio playback systems, I was also able to complete my long-announced sound experiment and present it to you now. … With this sound experiment, I wanted to investigate the extent to which mono and stereo signal sources as well as mono and stereo reverb effects can be used in different combinations in order to primarily improve the clarity and spatiality in the mix and thus further increase the mixing quality. I have examined four main variants and compared them in detail: 1) A mix of stereo and mono signal sources + stereo aux reverb sends 2) Mono signal sources + stereo aux reverb sends 3) Mono signal sources + mono aux reverb sends 4) A mix of stereo and mono signal sources + mono aux reverb sends I tried to reproduce the four versions as faithfully as possible, taking particular care to ensure that the positioning of the signal sources (i.e. the instruments in this case) and aux reverb effects in the panorama were all correct and that the loudness ratios between the signal sources and the aux reverb effects were maintained without significant changes. This was quite time-consuming precision work with extremely fine, often multiple loudness measurements for each track within each of these four versions. The final listening tests of the audio samples (four full-length soundtrack versions + the soundtrack excerpts presented here, as well as further mono compatibility checks of the four complete soundtrack versions + mono compatibility checks of the four soundtrack excerpts) on a variety of tested audio playback systems (Yamaha MSP3 studio monitors, Beyerdynamic DT 880 Pro studio headphones, Presonus Eris E4.5 studio monitors, a somewhat larger stereo system as well as a somewhat smaller, kitchen-radio-like stereo system or my HD MP3 player, for example) also really took a lot of time. But these detailed comparisons, for which I also made a few notes on clarity and spatiality in the mix as well as on special things with regard to the overall sound impression, have provided me with some really important insights that I will take into account in the future application of my dynamic mixing concept “Life Force” and which have given me further certainty that I am probably on the right path in this respect. … And so let's start right away with the first version: 1) A mix of stereo and mono signal sources + stereo aux reverb sends ------------------------------------------------------------------------------------------------------------------------- The track mainly contains signal sources or instruments in the stereo version (playing only on the outermost sides without further center participation in the panorama). I reduced a few signal sources (electric bass and kick drum) to centered mono signal sources to further improve clarity in the mix, while some other signal sources (all other drum elements) are present with a stereo width reduced to approx. 50% (playing between the outermost sides and the center in the stereo panorama, so to speak). All aux reverb effects are stereo in this version (but they only play on the outer sides without center participation). In the following audio sample, you can also hear the third and final electric guitar track for the previously mentioned part for the first time, which I wanted to compose in addition as part of my prior considerations (new electric guitar begins around minute 0:39 and plays on the left side in the stereo panorama) and which has really enhanced the electric guitar part and the overall sound ambience at this point: CC - FF7 Remix (Excerpt) - Stereo And Mono Source Signals + Stereo Reverb Version.mp3 As I had already used an electric lead guitar and a clean electric guitar for the big guitar part, I also wanted to use another individual setting for the third electric guitar. I decided on a crunch setting, for which I first experimented a little with a “Funk Frog” wah-wah effect. However, as this sounded far too playful in the context of the serious background of the soundtrack, I later deactivated this effect and instead used some really nice chorus and flanger effects in combination with the crunch setting, which made this electric guitar sound a bit more out of this world and also blended in really well with the soundscape of the other electric guitars. Here is a screenshot of this new electric guitar setting in my Vandal guitar amp plugin: After careful consideration, I also decided to use this first version of my mix as the new version for my remix, as I still find it to be the best overall package in terms of clarity, spatiality and the general sound quality of the mix, even after my extensive listening tests on various audio playback systems. Nevertheless, the following versions also have a few outstanding features that could be useful in certain mixing situations. 2) Mono signal sources + stereo aux reverb sends -------------------------------------------------------------------------------------- In this version, I used only mono signal sources (with a comparable positioning in the panorama as the previous stereo signal sources) and added an individual stereo reverb to each of them via aux sends in order to achieve a corresponding spatial effect, while at the same time trying to significantly increase the clarity of the mix: CC - FF7 Remix (Excerpt) - Mono Source Signals + Stereo Reverb Version.mp3 When listening on some audio playback systems, I actually had the feeling that this mixing approach was able to slightly increase the clarity in the mix in comparison to the first version. But on the other hand, this seemed to be at the expense of the spatial effect in the mix, whereby the connection between the playing instruments also seemed to get lost a little. 3) Mono signal sources + mono aux reverb sends ------------------------------------------------------------------------------------- After the seemingly minor improvements in clarity to the detriment of the spatial effect in the mix with the previous mono signal sources + stereo aux reverb send version, I naturally wanted to find out whether the clarity in the mix could be increased even further if you combine the existing mono signal sources with mono aux reverb instead of stereo aux reverb sends: CC - FF7 Remix (Excerpt) - Mono Source Signals + Mono Reverb Version.mp3 And indeed, I had the impression that at some points in the remix (especially in the large part with the three electric guitars) this increased the clarity in the mix a little bit and you could hear the individual instruments even more clearly. But on the flip side, the whole thing seemed to worsen the spatial effect of the mix even further, while the individual instruments seemed even more detached from each other and somehow disjointed. On some audio playback systems, the spatiality and reverb in the mix even seemed downright strange. I sometimes even had the impression that this mixing approach tore some holes in the stereo panorama and that the mix sounded very thin at some points (especially at the beginning of the audio sample, when there weren't quite as many instruments playing). Nevertheless, such a mixing approach with well-placed mono signal sources and mono aux effects could perhaps come into play if you are confronted with such a complex and extremely extensive mix, whose stereo panorama is already fully utilized or even radically overstuffed, for example in such a remix here, in which a large number of instruments and other signal sources play simultaneously at various points in the soundtrack: 4) A mix of stereo and mono signal sources + mono aux reverb sends ------------------------------------------------------------------------------------------------------------------------ For the sake of completeness, I still wanted to find out how the mix behaves if I simply combine stereo and mono signal sources with mono aux reverb sends, which then sounds like this: CC - FF7 Remix (Excerpt) - Stereo And Mono Source Signals + Mono Reverb Version.mp3 This doesn't sound bad either, but here too the spatial effect seems to suffer considerable losses, while the reverb also seems to sound somehow strange and to be downright dominated and drowned out in the interplay with the predominant stereo signal sources of the instruments. … So much for that. However, as promised, I also wanted to carry out a further mono compatibility check for these four different mixing versions as part of a more detailed examination. This can be done quite easily with a DAW by simply switching the master track (this contains all the individual tracks in the music project) to mono in the mixer view at the touch of a button in this master track, of course only temporarily for control purposes. This not only sets all tracks in the mix to mono sources, they are also centered in the stereo panorama, which means that a stereo width is non-existent, so to say. And this also means that all signal sources and effects are virtually superimposed and squashed in a centered point in the panorama. On the one hand, some sound engineers do this test to get a vague idea of how well the mix translates or reproduces on a mono audio playback device. On the other hand, by centering all available signal sources and tracks with the master track mono button, you can find out whether there are any gross frequency overlaps between the various signal sources and effects (can be fixed by the precise use of EQ plug-ins, for example) or even serious phase cancellations (which can cause some sound elements to literally drown out in the mix). But let's start right away with the mono compatibility control tests of the four tracks. M1) Mono compatibility check - a mix of stereo and mono signal sources + stereo aux reverb sends ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------- CC - FF7 Remix (Excerpt) - Mono Compatibility Check - Stereo And Mono Source Signals + Stereo Reverb Version.mp3 M2) Mono compatibility check - mono signal sources + stereo aux reverb sends ------------------------------------------------------------------------------------------------------------------------------------------ CC - FF7 Remix (Excerpt) - Mono Compatibility Check - Mono Source Signals + Stereo Reverb Version.mp3 M3) Mono compatibility check - mono signal sources + mono aux reverb sends ----------------------------------------------------------------------------------------------------------------------------------------- CC - FF7 Remix (Excerpt) - Mono Compatibility Check - Mono Source Signals + Mono Reverb Version.mp3 M4) Mono compatibility check - a mix of stereo and mono signal sources + mono aux reverb sends ---------------------------------------------------------------------------------------------------------------------------------------------------------------------------- CC - FF7 Remix (Excerpt) - Mono Compatibility Check - Stereo And Mono Source Signals + Mono Reverb Version.mp3 … To summarize, I would say that even in the mono compatibility checks of the 4 versions, the first version with the well thought-out mix of stereo and mono signal sources and the stereo reverb aux sends performs best as an overall package. The first version not only convinces with a really good clarity and perceptibility of all instruments and effects in the mix, but also with a really good representation of the spatial depth and the spatial coherence of the sound sources. Once again, the second version with the mono signal sources and stereo aux reverb sends as well as the third version with the mono signal sources and mono aux reverb sends seem to perform slightly better in terms of clarity in the mix. Nevertheless, the instruments in these versions sound a little more static, a little less spatial and less coherent than in the first version, while the reverb also sounds a little strange in some places or even seems to overlay and dominate some instruments. The fourth version with the combined stereo and mono signal sources and mono reverb aux sends comes off worst here in my opinion, because this somehow strange and sometimes stalled-sounding reverb does least justice to my actual intention as a composer and sound designer. … Certainly, the differences between the four versions here are more in the range of nuances, since I was able to achieve the far more resounding improvements in the mix with some of the previous mixing approaches and sound experiments. But I believe that with this second major stereo and mono sound experiment and with the previous first stereo width sound experiment from December 20, 2024 (with the title: "Using specific stereo widths for instrument and direct signal tracks for more clarity and assertiveness in the mix and for a more impressive representation of panorama and spatiality in the soundtrack"), I was able to demonstrate quite well that you can not only clean up a mix in terms of frequency. You can also clean up a mix by making more efficient use of the panorama or by using different stereo widths for signal sources and aux effect sends in the mix, whether you turn critical stereo sources completely into mono sources or simply reduce the stereo width of some stereo sources so that other signal sources have more space in the stereo panorama in order to be better perceived in the mix. … But I'm still curious to hear your opinions on the subject and very interested to hear your listening impressions of the four different mixing approaches. )) … In my next and possibly last post on this topic within this thread for now (I want to throw myself back into the passion of composing), I will show you the full version of my new Crisis Core remix and, as a comparison, upload the previous version of this remix from about 8 years ago as an audio streaming file. Because that was about the time when I started to deal much more profoundly with the topics of composition, mixing and sound design in many smaller and larger steps, while about 12 years ago (around 2013), through a few lucky coincidences (one of which was the OCRemix community) and without any previous musical knowledge, I stumbled into the topic of DAWs & remixes and some time later took the first awkward but joyful and curious steps in this direction with my first version of a DAW. ))

Oh, nice, I don't know how I missed this project, but I love the idea! I just love creepy stuff (how creepy that sounds like! haha) Maybe a bit late, but I have a very rough WIP for a track that I think it'd fit this album pretty well. It's a dark/horror/creepy/whatever arrangement of the boss theme from Terranigma, highly inspired by that annoying boss, Bloody Mary. Terranigma's anniversary is in October too and I'd love to make a video with it once it's finnished, so the plan is just ideal. So far it's 100% MIDI but the structure has plenty of progress. I'm pretty confident with my arranging skills and ideas but everyone in the VGM scene seems to hate my mixing haha, so since this project seems not to be that nitpicky it'd probably be just fine. Still accepting help from performers or even in mixing/mastering if anyone is interested, tho. I can share the latest WIP as reference if that's needed.

Much better! About the arrangement, could you give the source? What I can say now. I really like the first half and the end after transition. About transition at 2'02-2'30, I find it sounds empty. Only the synthe and the bass drum before the rhythm really start. Even if I like the idea of a break before restart. I think it needs more development, by adding of some details. Maybe some minor rhythm variations, or adding of some note of high piano to remind other parts of the mix. You conclude by a fade-out, I’m not sure it’s appropriate for this kind of music. * About mixing, I can tell you what I feel, but I’m not familiarized with this kind of music. I think intro with synthe need humanisation. And also for other parts where this same synthe is in the foreground. At 2’35, I feel the snare is too a little too loud. Maybe it’s the same level as in the first half. But I feel this at this part. Good luck !

Nah, no worries. ;) I'm glad to see the representation here, as is! ^_^ These guys are fire, and it's well-deserved.

Thank you! If I were allowed more than 8 tracks, I would have included Chozodynamic in this list, for sure ♥

♥ Much love to the brothas and sistahs here around the community. :D ♥ Thanks for making this and the other 8Tracks, and your appreciation for everyone's work! Keep at it -- meanwhile, Imma listen to this one, right now.

Mario Kart 64 Winner 2025-06-17 2248.mp3 You guys motivated me to update... Not very polished but here's a rough arrangement. Fleshed it out adding the "secret ending" bit for the second chorus, and an all new straight ahead groove that I want to flesh out the solos to more. A little reminiscent of Luigi's Raceway...

Thanks for the input to both. I am actually making this in 11/4. Use the ride cymbal in introduction (right ear) as a metronome marker. You might notice when you do this, it sounds like the off beat once we reach beat 6. This is because on beat 6, the kick drum (and bass following it) becomes the off beat, syncopating the side chain effect until the top of the next measure. This occurs on every measure. So the original rhythm is (mostly) intact, but when you count it this way, you get interesting syncopation, or off beats... it's all an illusion! But anyways, I will take the sound design and eight note rhythms into consideration. I do believe the kick and bass pattern (and obviously the time signature) is the main culprit for it straying from the traditional synthwave feel. Let me play with it, and most importantly complete the arrangement, and we will see how it sounds then. I appreciate the input.😁 EDIT: and the chords during the melody section follow the syncopation, because I have them bouncing onto the beats that the kick and bass are playing. Maybe I should try placing them on the on beats and see how it sounds... as it stands though it's an even 11 chords through beat 5, and another 11 through beat 11, so it is currently even in the measure, just syncopated because it's an odd measure... interesting dilemma, especially to Steele's point because synthwave isn't typically syncopated like this.

Tracks updated! ♥ I might be utilizing the forum's 'CLUBS' function here for this, as suggested by DarkeSword himself. :) I've also got access to the CRAC server as admin / album director, so I will be adding channels for AOCC and AOCH there as well, soon. :D Here's the link to the server, if you're not already on there! -- https://discord.gg/wKyadaTT And as a bit of a surprise, The Coop and I are working on the front and back covers for this!! Yay! Progress! :3 Official website details are still up in the air, but I'll be touching base with @tibonev & @colorado weeks on that ASAP. Hang ten, guys! Looking forward to hearing your WIPs! 🎃🥰

Like we wouldn't have them... :-D https://drive.google.com/file/d/1kbxL0oM6xsneNMq5fwCkAqKWgI93IIz5/view?usp=sharing