Liontamer

Yep. AT ALL.

Preview it: http://www.youtube.com/embed/a9Gh596TFqU Download it: http://badass2.ocremix.org Torrent: http://bt.ocremix.org/torrents/BadAss_-_Boss_Themes_-_Volume_II.torrent You know how in movies or games or whatever, when there is a sequel they tend to be way darker than the original? Well, here's our sequel. But while it's not on a boat and lacks chipmunks, it'll be horrifying nonetheless. After 2 years of hard work, we bring you BadAss: Volume II. A collection of boss and battle themes done in a style that is both awesome and kick-ass, as well as mean. Really mean. As soon as we released Volume I, we went right to work on Volume II. The thing we wanted to do with this album was make it even meaner than the first; to make the hardest album on OCR yet. Volume I had a few tracks that were meant as a respite from the onslaught of BadAssedness. You'll find none of that here, so abandon all hope... something something... OH! Abandon all hope, ye who enter here! This will also be the last BadAss I direct, but I think it's a great swan song. There will most likely be newer entries in the BA line, and I've no doubt they will be excellent. As for me, I couldn't have asked for a better album than this one here. I've always been a big fan of the more intense VG ReMixes, and this is a fulfillment of what I wanted to do with BadAss, and one of the best things I've gotten to be a part of in OCR. I thank all the arrangers, and artists for all their hard work. We made a damn fine album, filled with kickassery hardcore style. They say the sequel is always darker. From everyone involved in the project: Welcome to BadAss 2, hope you're ready for a beating! We swear you'll enjoy it, though, or your money back. - David L. Puga After the success of the first album, it's time to present its twisted brother. BadAss: Volume II is darker, grittier, and even more BadAss than the first volume was! As we did the first time around, David and I searched around to find the most twisted of artists to bring you the terror that is contained within BadAss 2. The sometimes heroic vibe of the first volume is completely gone now. This is the darkest stuff you'll find on all of OCR! From the darkest guitar solos to the most sinister synths: You'll be terrified the entire way. And you'll love it because of that. Ladies and gentlemen, from the deepest depths of hell, BadAss 2 will swallow you whole! Enjoy, but listen at your own risk… - Pieter van Os (pu_freak)

You posted it in Off Topic, that's why. Moved to Help & Newbies and renamed. Help Joe out. His music is semi-decent, you all owe him.

I thought the soundscape sounded pretty murky to start. I thought it was a purposeful effect just for the buildup until the track basically kicked off at :29. The piano lead was very muddy and semi-buried. Weird transition (or lackthereof) at 2:08; no big deal, but it shouldn't have been this jarring, include the change to a much cleaner soundscape. Wow, I really disliked how muffled/cluttered 2:27's section sounded. The lead and countermelody are well written but very obscured; all you prominently hear are the beats and not much else. The piano at 3:13 was mechanical sounding, but otherwise well-written and well-executed. I think the overly low-fi sound has to go; it just sounds like an unintentional low-quality encoding and a lot of the details in the composition ended up lost in the shuffle and mudding together, including a decent portion of the lead work. The arrangement was 5:25-long, so I needed more than 162.5 of overt source usage for the source material to be dominant in the arrangement: :31-:33, :34-:36, :38-:40, :42.25-:43, :58.75-1:12.5, 1:13.75-1:27, 1:32-1:37.5, 1:39.5-1:45.5, 1:46.75-1:52, 1:54-2:00, 2:01.75-2:08, 2:11-2:14, 2:16.5-2:18.5, 2:22-2:25, 2:27.5-2:30.5, 2:32.75-2:36, 2:38.5-2:41.5, 2:43.5-2:51.5, 2:54.5-2:57.5, 3:00-3:03, 3:05.5-3:08, 3:16.5-3:20, 3:39-3:40.5, 3:41.5-3:43, 3:44.5-3:45.5, 3:59.5-4:02.5, 4:04.75-4:07.5, 4:32-4:55 = 132.75 seconds or 40.8% The arrangement was cool, and super creative with a lot of excellent variations, embellishment and original writing ideas. Everything pieced together well, BUT I felt the source tune needed to be used in more places given what I could make out. I never count rests in a melody because there's always something else to draw from in the source that can be in play. I listened to a lot of the supporting writing in "Phendrana Drifts" to see if any other part writing from the original was applied, but I couldn't ID anything. That said, I'm not familiar with other Metroid Prime songs, so maybe there are some cameos I'm missing, or other parts from "Phendrana Drifts" referenced that need to be pointed out to me. IMO, besides adding some more source tune usage, it's also a matter of cleaning up the mixing some, Josh. I love the track, but even if the amount of source usage wasn't a question for me, the mixing as it stands now was too messy to let go without needing some cleaning up. NO (resubmit)

Way to not read the writeup.

I'm listening again, and while the overall sound is still grating from a personal taste standpoint, I thought this came out fine. There was some copy-pasta action with :41 repeating at 1:42, but the last verse at 2:37 at least had some differences in the leads. I thought the personalization of the verse arrangement was substantial enough to mitigate that negative. I'm not OMG YES, but at the same time, the arrangement substance was there, even if the sound design wasn't particularly impressive. That's gotta count for something, so I'm sticking to mah (borderline) guns. That said, addressing the crits of the NOs would solidly put this on track.

Elaborating: Patrick, you can buy the domain name from ME, at least I'll put the coin to good use! (i.e. Nintendo World Championships 1990 gold NES cartridge) P.S. You're trollin' us good, orrrrrrr...

Obvious scam is obvious. C'mon, Pat! Don' do DAT! Can someone (read: ANYONE) who knows how to obtain a domain the correct way walk Patrick through the proper steps? I'm sure it would be informative for others with the same question of how to do it.

I thought the sound quality of the piano was solid enough, but putting that out there. The beat opened up with a static/plain feel, but I was interested in seeing where the gradual escalation would go. By :28, the texture was meant to sound a bit fuller, but the rhythms were fairly plain and there seemed to be too much empty space. Something introduced around :28 was causing soft but audible & pervasive clicks/pops (e.g. :29, :34, :36, :40-:44, :48-:54, 1:07, 1:45-2:27: etc.). Even if the arrangement and production were otherwise on point, this much distortion would be a deal-breaker. The change in leads at 1:13 was welcome, though some further variations in the core groove writing would have been good. Decent dropoff at 1:43, with the rebuild leading back up into 2:27. The soundscape was noticeably muddier at 2:27, and I felt like the energy in this composition ultimately never got beyond second gear at 2:27, which doesn't sound intentional. Despite the obvious buildups and dropoffs, and some lead changes, it doesn't feel like any fully successful dynamic shifts were taking place. The groove felt too repetitive, the textures sounded too sparsely-written despite the volume & amount of things going on, and this was basically in a low gear and never truly turned the corner on. Even if you kept this groove intact, the textures need to be less vacant, and the dynamic contrast has to be more pronounced. Pick the brain of people like Flexstyle, bLiNd, zircon and others, let them know we said it has potential and that you need some opinions on how else to spruce up something like this. It's a solid effort so far, Beth, and I really like the rhythmic changes applied to the Zelda songs. But the composition itself just lacks the detail work to make it sound more cohesive and more varied. NO (resubmit)

I'll be working on it a little bit. Some things are in motion. ... Yes, that's all you get for now.

Hey, you shutupz! You're ruining it for those of us still on staff who dream of one day escaping.

This isn't a reply against Meteo (thanks for apologizing), but it is against that negative mentality. If we felt Jimmy was a Big Giant Opportunist, djp and I wouldn't have recorded anything for his video, for one thing. For another, Jimmy's contributed a lot of mixes, he's been a judge, he's given of his time and energy to help OCR keep on chugging, and he's given years of sharing his knowledge directly with artists here to help them improve. When artists like Jimmy, who have grown in part due to OCR, make it, that proves that what we're collectively doing is good. So if anyone claimed Jimmy is just USING OCR, that's just ignorant and unfair. He's given to OCR; him being able to plug his projects is cool with us. Also, it's not to say that a past contributor could never seem tacky trying to pimp a Kickstarter, but if we saw something egregious like 3 threads per month saying gimme $, we'd step in. On the flip side, I think it's silly to have some expectation like (paraphrasing) "If they're not at least sending in a mix every year or so, then they're just whoring their Kickstarter, they're not really part of OCR anymore." Really? Do we OWN everyone's time and energy and they have to be super directly involved with OCR forever? Of course not. So why push people away with this kind of attitude when they're successful or trying to expand their reach? What's next, Danny B's not loyal enough? Mega Ran's not loyal enough? Jillian's not loyal enough? It's OK for contributors to just pass through and move on. And lemme just say this, let's just pretend it WAS someone else who has been long gone and had only 1 mix. If, for example, bazooie had come back around to plug his Kickstarter (which he should have) and *GASP* ask for money, then I'd say WELCOME BACK! It's a CONTRIBUTOR. We specifically allow posted ReMixers to hawk their wares in Community, because they've given to the website. That hasn't changed just because they don't stay current or engaged in the day-to-day. It's OK to pitch this community on your stuff even if you're a not a regular artist anymore. I'd hate to think if anyone else here drifted away but came back to plug an album release or fundraising project that others would feel they're just money-grubbers or disloyal outsiders. Just relax, it's fine. Once you get a mix posted, you're an OC ReMixer. The party will always be here. Drift in and out and your leisure, and feel free to announce yourself when you want. EDIT: I'm not involved in any ban warnings here, and I think that's not needed, but Brandon, that attitude of snarky disgust with an OC ReMixer plugging a perfectly legal, legitimate Kickstarter is what's detrimental to the community, not Jimmy promoting his Kickstarter. No one is being coerced to hand Jimmy money, and he's not being obnoxious in his promotion. So get over it.

This is amazing. This is awesome. Love it. Love it!

That absolutely makes sense, and it's something that takes many aspiring artists a lot of time to figure out. Jordi certainly pulled it off well here.

Rainwave's Chiptune station should be good http://chiptune.rainwave.cc

I'll just comment on the clique thing. It definitely wouldn't have mattered if someone on staff or someone super-duper friendly with staff made this same request. Not sure why that came up, but that's not how we operate. Except for me. If I want to yank "Funky Monkey Love", then this site will be forced to lay it down, Donkey.

PlayStation Dr. Neo Cortex The short form of Tyrannosaurus rex is T. rex with the T always capitalized. "Crunch, an unrelated bandicoot" seems like an awkward way to state that he's not Crash's family. I'd just say "a bandicoot obsessed..." with the lack of any familial relation already clarifying they're not family.

How dare we let people know what's happening? I'll pass it on, but ignore at your own risk. If you miss something important, that's definitely your fault.

DarkeSword and I made a list, checked it twice, found out who was naughty or nice, and then pared it down appropriately. Seriously though, being a steady contributor to DS's compos was the starting point. We knew those people were proven to be both creative and efficient with their time.

Kickstarter goals seeming arbitrary is nothing new, so I'm not surprised by anyone saying that. We're a team of 26 and no one's doing this as a full-time gig, so we actually do need additional funding to justify and come through with expanding the scope. The game system won't be "subpar" just because we're not at XYZ dollar amount, that's your framing it negatively. The Kickstarter was actually started just to raise funding for 3D modeling help that we definitely needed to hire outside help for, so we would have been happy with the game with the vision and scope of the game without having reached the higher goals. Not trying to place us on the same footing, but Super Mario Bros. 1, Sonic the Hedgehog 1 and Final Fantasy I all started without having every feature known to man, and those were awesome games that paved the way. But having more funding does enable us to have more time to develop further features, and the ability to hire additional help as needed to bring those things into the first game rather than later. Designing an inherently subpar/incomplete game that was dependent on hitting stretch goals would be stupid. W're not claiming to NEED all the features laid out in all of the stretch goals just to have a worthwhile experience. On the OCR side, we've already learned that a successful Kickstarter raises a lot of funding but that funding goes pretty quickly due to fees & missed payments, and a large chunk basically needing to be held in escrow to pay for physical product development and shipping, which always turns out to be a huge cost. So as fun and decadent as it would be for the aim to be Scrooge McDuck money piles and greed as far as the goals put there, it's recognizing that in order to add more ideas to this initial game, we need funding to secure additional time from our team and get great outside help. That doesn't preclude exploring the prospective stretch goal features in a follow-up to Project Phoenix provided the first is successful, that's been the plan all along, i.e. if we can't do it this time around, it's on the table for the next project.

The closing days, especially the last one, always finish strong for Kickstarters like these. We're living proof. Even just last night Project Phoenix topped $1 million in the final 30 minutes, including a plug with 3 hours left from the official Mighty No. 9 Twitter (awesome!). I could see Mighty No. 9 hitting 3 million as long as it stays in the news cycle. Even if it doesn't, it'll easily clear $2.5 million.

Here's Capcom's post about the album! • ANNOUNCEMENT! http://www.capcom-unity.com/brelston/blog/2013/09/11/two-amazing-mega-man-tribute-albums-coming-this-fall AND, if you're a visual artist, we need YOOOOOOOOOOOOOU! We have an art contest running at Capcom-Unity until the 22nd to come up with awesome album art! Get the details there! • ART CONTEST! http://www.capcom-unity.com/brelston/blog/2013/09/11/mm25-album-art-contest-rules-and-info

Capcom & OC ReMix Announce For Everlasting Peace: 25 Years of Mega Man Album September 11, 2013 Contact: press@ocremix.org FAIRFAX, VA--OverClocked ReMix, through licensing with Capcom, today announced its upcoming arrangement album For Everlasting Peace: 25 Years of Mega Man. The album will pay tribute to Capcom's legendary sound team by arranging classic music from the first games of the Mega Man® franchise, a game series which has sold over 29 million units worldwide. For Everlasting Peace: 25 Years of Mega Man will be available for digital download on iTunes this fall. This special arrangement album will feature 20 tracks in styles including electronica, rock, folk, funk, trip-hop, bluegrass, and acoustic guitar. Spanning the history of the Blue Bomber, For Everlasting Peace: 25 Years of Mega Man will shine the spotlight on music from the first installments of Mega Man®, Mega Man® X, Mega Man® Zero, Mega Man® ZX, Mega Man® Legends, Mega Man® Battle Network, and Mega Man® Star Force. Created in 1999 by David "djpretzel" Lloyd, OverClocked ReMix is the world's premier community dedicated to the promotion of video game music. OC ReMix first teamed with Capcom in 2008 to create the soundtrack for Super Street Fighter® II Turbo HD Remix, involving over 20 OC ReMix musicians and marking the first-ever AAA game soundtrack developed by a fan community. "We're honored to again be collaborating with Capcom on another iconic franchise, paying tribute to over 25 years of Mega Man," said OC ReMix founder and president David Lloyd, who will also contribute to the album alongside more than 20 musicians. "The music of Mega Man is as diverse as the many adventures the games take us on, providing the perfect soundtrack to a quarter century of robotic heroism and upgradeable projectile weapons. The OverClocked ReMix community is always excited to explore new interpretations and expressions of such amazing compositions, and we believe that For Everlasting Peace - our first commercial album - will offer fans something new while staying true to our goals of honoring great video game music and composers!" Mega Man games are beloved by fans all over the world. Since their debut in 1987, Mega Man has remained a video game icon, having starred in more than 100 titles over the last 26 years. The connection he's made with pop culture at large has extended beyond games and into cartoons, toys, clothing, comics, and more. Part of that popularity is driven by the series' ability to evolve over time yet consistently retain the addictive gameplay experience that sets Mega Man games apart. For more information on Mega Man, visit www.capcom-unity.com and megaman.capcom.com. For more information on OverClocked ReMix and the community's complete catalog of interpretive video game music arrangements, visit ocremix.org, like OCR at Facebook.com/ocremix, and follow OCR on Twitter at @ocremix. ABOUT CAPCOM Capcom is a leading worldwide developer, publisher and distributor of interactive entertainment for game consoles, PCs, handheld and wireless devices. Founded in 1983, the company has created hundreds of games, including best-selling franchises Resident Evil®, Street Fighter®, Mega Man® and Devil May Cry®. Capcom maintains operations in the U.S., U.K., Germany, France, Tokyo, Korea and Hong Kong, with corporate headquarters located in Osaka, Japan. More information about Capcom and its products can be found on the company web site, www.capcom.com or www.capcom-unity.com. Capcom, Devil May Cry, Mega Man and Resident Evil are either registered trademarks or trademarks of Capcom Co., Ltd. in the U.S. or other countries. Street Fighter is a registered trademark of Capcom U.S.A., Inc. All other marks are the property of their respective owners. ABOUT OVERCLOCKED REMIX Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation and promotion of video game music as an art form. Its primary focus is ocremix.org, a website featuring thousands of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. ###

djp's still weighing options with a new forum system, but I'm confident in saying a spoiler tag would be part of that.

ONLY 15 HOURS LEFT to get in on the Kickstarter! http://www.kickstarter.com/projects/1300298569/project-phoenix-japans-indie-rpg-feat-aaa-talent You can hit PayPal too (even after the Kickstarter) if you can't use KS. http://www.projectphoenix.info/store/