Liontamer

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/

BE AGGRESSIVE! OC ReMix Celebrates 20 Years of Gunstar Heroes with free album! September 9, 2013 Contact: press@ocremix.org FAIRFAX, VA... OverClocked ReMix today released its 42nd arrangement album, Be Aggressive!: A Gunstar Heroes Tribute Album. The two-disc album celebrates, to the day, the 20th anniversary of the Sega Genesis run-and-gun shooter Gunstar Heroes, developed by Treasure and published by Sega on September 9, 1993. Featuring twenty-four tracks from nineteen artists, Be Aggressive! represents the OC ReMix directorial debuts of Dustin "DusK" Branscum & French musician Dj Mokram and is available for free download at http://gunstar.ocremix.org. "Gunstar Heroes remains even today as a very under-appreciated and under-recognized game," said album director Dustin Branscum. "Even among the remixers who worked on this project, there were those who had missed the game entirely, or discovered it well after the 16-bit golden years. Despite that, at the end of that year-long journey, we had an album that completely exceeded my expectations. We've created an album that makes you feel like you're playing a fast-paced shooter as you listen." Be Aggressive! sports a diverse roster of musicians, showcasing many OC ReMix newcomers, and conveys the feel of Gunstar Heroes' gameplay through predominately aggressive and energetic music with a futuristic, sci-fi aesthetic. The original Gunstar Heroes was the inaugural release of game studio Treasure, founded by a group of ex-Konami developers. Album musicians honored composer Norio Hanzawa's intense soundtrack by arranging it in a number of styles, with a strong focus on electronica and rock. Be Aggressive! was made by fans, for fans, and is not affiliated with or endorsed by Treasure or Sega; all original compositions are copyright their respective owners. "Exploiting every ounce of the YM2612 soundchip to deliver some FM synthesis goodness, Gunstar Heroes contains some of the most complex compositions to come out of Sega's machine, making its music surprisingly challenging, yet immensely rewarding to arrange," said album co-director Dj Mokram. "We wanted the album to reflect both the futuristic setting and the frantic nature of the gameplay, while staying true to the story, characters and feel of playing the game itself." 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. ### Preview it: Download it: http://gunstar.ocremix.org Torrent: http://bt.ocremix.org/torrents/Be_Aggressive_-_A_Gunstar_Heroes_Tribute_Album.torrent Comments/Reviews: http://ocremix.org/forums/showthread.php?t=44905

Really smart weaving of the source themes in this arrangement. Those are the best.

Justin asked me to check this one again. I wasn't bothered as much as you, Justin, but you definitely didn't make an invalid point. I could see saying compression was an issue; I didn't get that vibe as much, but the lead synths (e.g. :06-:40, 1:08-1:42, 2:23-2:37) are pretty grating/abrasive, and the supporting writing does get smothered a bit. I'm still borderline on going with it, but your ears ain't broke, and I could change my call on this given your concerns. The leads could use a touch-ups at least, but the arrangement was solid ENOUGH. I'm thinking about it.

Just in case anyone's wondering about a breakdown, I conservatively timed it out: Pac-Man "Start BGM" - :09.5-13.5, :19.5-:27.5, :36.5-:37.5, :39.5-:43.5, 1:01.5-1:09.5, 1:14.5-1:15.5, 1:17.5-1:21.5 Pac-in-Time "Forest" - :15.5-:19.5, :27.5-:36.5, 1:47.5-1:48, 1:49.5-1:50, 1:52.5-1:54, 1:56.75-1:58.25, 1:59.75-2:00.25, 2:02.75-2:03.25, 2:04.75-2:06.25 Ms. Pac-Man "Act 1: They Meet" - 1:33.5-1:42.75, 1:42.75-1:47 (quiet delay effect) Nice energy here, and definitely some cool stuff from Tommy and Dweezil. Cool to have them both officially on this side of the ranks. Unreal.

This is a pretty cool medley cover, but it was a pretty by-the-numbers rock cover of a soundtrack already in this genre. Beyond the sound upgrade, there wasn't enough in place (e.g. creative new part-writing, rhythmic, tempo or instrumentation differences) that personalized this as a unique interpretation of Skitchin' music. Obviously, it was made to hold fast to the feel of the originals, and it's a sweet listen. It's an awesome cover, but I think it falls outside the interpretive scope we're looking for. The original music had energy, but was pretty texturally simple. That's basically what was here, with better sounds; not much else was there to differentiate it from the originals. Some additional writing ideas and personalization could get a solid performance like this through as a more interpretive, personalized arrangement approach. We're actually pretty inviting of cover-ish songs, Phil, but that more interpretive angle also has to be present. NO

Remixer Name : Underphil Real Name : Phil Underhill E-Mail : User : 51229 Game Name : Skitchin' Arrangement Name : Skate Lark Name Of Ind. Songs : Title Track, Cheese Grater, Let's Plow, Psycho Deep Fry, Spicy Placenta Additional : Original composer is Jeff Van Dyck. Game was only on Sega Genesis/Megadrive and was released in 1994. Soundtrack : My Comments : I'd always wanted to turn this soundtrack into a full hard rock production from when I first played the game. 19 years later, I've finally got round to it. I felt it would work perfectly as a heavy 'full band track' and the synth lines deserved to be turned into fully fledged solos. The mix was made entirely in the box using a mixture of Guitar Rig & Amplitube for the guitars and bass and Superior Drummer for the drum lines. I experimentsed with other virtual instruments but preferred the raw sound of just guitar, bass & drums. Rather than make it too long and choppy, I decided to pick my five favourite tracks for the 'medley'. Link to MP3 : --------------------------------- http://project2612.org/details.php?id=54

The piano sample from 1:59-2:39 was pretty fake and exposed. While I liked the melody taking a bit of a backseat to the countermelodic ideas added in from 2:50-3:22, the delay effects and mixing between the parts made things a muddy mess. After that, it wasn't AS bad, but this was another case where the leads and pads were just bleeding into each other a lot until 5:19 had some stuff drop out to at least give a little more breathing room. The pads were louder than anything else from 5:31-6:02. Some variation in the arrangement ideas at 6:12 would have been welcome given how long this piece was. Same muddiness issues standing out a lot from 6:44-7:27, where the theme is barely even audible amongst the other parts. Some additional interpretation ideas for the source tune itself would be good as well, since it's nearly 8 minutes with a lot of repetition. Cleaning up the mixing and making sure the parts are balanced properly during the densest sections is something that has to be addressed. The second thing, which wasn't as important but may be a good move, would be doing a little more to vary the style of the "Bloody Tears" theme throughout, whether it be more variation in the melody, the rhythm, or something else. This is a pretty solid arrangement so far with lots of energy and dynamic shifts as the track went further. Despite the length, that aspect of it (the ebb and flow of the overall energy level) was OK thanks to good buildups and dropoffs. If the mixing gets improved so that you don't have large portions that are cluttered, and a few more melodic variations were employed, then this would be in much better shape. Pretty good so far. NO (resubmit)

Contact Information Your ReMixer name: Mellow Sonic Your real name: Sandro Kreher Your email address: Your websit: http://mellowsonicsound.npage.de/ Submission Information Name of game(s) arranged: Castlevania II Name of arrangement: Simon's Quest Name of individual song(s) arranged: Bloody Tears --------------------------------------------------

Ain't no download link on the SoundCloud, so I had to settle for listening to it directly there. The arrangement was decent but felt pretty by-the-numbers besides this genre adaptation. By 1:30, I was waiting to hear something more substantially interpretive with the handling of the melody. 1:43 helped a little by the chorus feeling different than the source tune's version due to the beats, but there's a lot of just adapting the tune to a relatively static dance groove and not really much substance going on beyond that. Nearly halfway over, 2:55 finally moved to some original writing ideas to add something new to the picture. 3:28 brought the theme back again, this time with the breath SFX and some new other new writing with the belltones and chord progression stuff. That probably ended up being the most interesting part of the track because of hearing new instrument textures and actually having some dynamic contrast compared to earlier. Back into the source melody at 4:22, which was essentially a copy-paste of 1:12's section; that was a little disappointing. Since the melodic treatment was so straightforward before, that was a chance to provide some sort of variation in the the melodic writing, the instrumentation, the rhythms, just something to build off the interesting ideas presented from 2:55-4:22. It's not that this arrangement was just a cover + beats, far from it. But when the source tune is in play, the melodic treatment was plain enough that none of the ear candy around it mattered. It boils down to a melodic take that didn't sound creative enough with a relatively static groove under it dominating the first half and final section, and it wasn't enough to seal the deal. Anything that could be done to spice that up would be awesome, Matt, because the potential is readily apparent here. NO (resubmit)

Hi there, Please visit my soundcloud link below for my submission: Original VGM below http://www.youtube.com/watch?v=m1qbVI9iTBU My mixer name is 'Capitulated Sound' Real Name: Matt Hird Email: Website: http://soundcloud.com/user4076963/ User ID: hulky (Sorry, I tried to find number but had no luck !) Game arranged: Chrono Trigger (SNES) Name of Arrangement: To Far Away Times - Touched Remix Original Track: To Far Away Times Originally VGM: http://www.youtube.com/watch?v=m1qbVI9iTBU Comments: My second attempt breaking through on the OCRemix scene...I previously submitted a Ninga Gaiden remix, "the devil removes his mask". It was a very close and in my opinion "Admirable" decline I did consider your comments but decided not to re-work my track as I personally was pretty happy with the output. Thats not to say I disagree'd with your opinions and I definitely value the constructive feedback! Am hoping this submission may meet the suitably high standard you guys set on your fantastic website. Thanks for listening Matt ------------------------------------------- http://www.youtube.com/watch?v=m1qbVI9iTBU

That only happens on YouTube. Great work on this, Paul. This is how you do it!

EDIT (11/5): It really took me a while to familiarize myself with the source enough to grasp the arrangement, but I've got my breakdown of what I recognized from the source. Thanks to jn for the thorough breakdown; I didn't agree with it all as far as being overt connections, but there was easily more than enough direct usage of the source: :39.5-1:44, 1:46-1:56, 1:59.75-2:13, 2:39.5-3:30, 4:09-5:00 = 189.25 seconds or 60.46% Onto the production side, this open up interestingly with organ followed by some pretty thin, fake stuff guitar at :13. The drumming and backing guitar work at :26 sounded pretty flimsy and lacking energy at first blush, but I think it ended up sounding OK. The lead at :40 sounded pretty nice, and I liked the dual layered leads at :52 a lot; good escalation and dynamic contrast there. Good transition at 1:19 along with solid layering of the proggy synth with the piano at 1:33. Another swank dynamic shift at 1:46; the piano and pads filled out the soundscape well. At 2:12, the piano was more exposed again, followed by the thin synth guitar at 2:26. The piano and string writing at 2:39 & 2:44 were well-written as well; again, the piano sample could have used more richness, though what was there was serviceable. The soundscape was somewhat muddy from 3:05-3:37, and I wasn't a fan of the tone of the drums; not a huge deal. Drastic changeup at 3:37 to some extremely fakey piano that sounded even more fakey than the other fakey piano. Pretty unrealistic string sequencing too. The production from 3:37 until the end at 5:13 was easily what really dragged this piece down to a NO vote. The drum tone arguably didn't fit the 4:09-4:35 section, though that wasn't a huge deal. Overall, this is a solid composition, but when the samples strain for credibility or the light rock textures sound too thin, it makes this piece sound in places like a WIP/sketch that hasn't been fully fleshed out yet. That was particularly a big deal from 3:37 until the end, where the fakeness of the samples was exposed much more during the 3/4 sections. Something happened there where pretty much nothing was done on the production side to mask or otherwise mitigate the unrealistic sound of the piano or string sequencing. The scrawny piano from 4:35-5:00 was probably the worst offender and was exposed during the final section when things should have finished strong. I really love how smart and creative the arrangement was, and how thoroughly the source tune ended up being used here. And while there were some notable issues with realism and production quality, I could have went with this as a YES with the arrangement carrying it. However, the lack of realism and serviceable articulations for the entire last third of the piece was too much of a pervasive issue to ignore and was a distinct quality disparity from the rest of the arrangement. If you can improve the realism of the 3/4 sections, this would be an easy pass. Don't give up on this one. NO (resubmit)