Liontamer

Thank you for being "troubled" while framing the issues as "OCR doesn't give a shit about the album releases." I agreed with Mustin that was just the wrong way to start off, assuming bad intent. Even though the original post read VERY DOUCHILY (which I'm making up), and I'm the one responsible for putting together the torrents of everything since album #7, this very directly is about my work. I'm treating this thread as a post-mortem of the Pokemanz package creation itself, so I'll address this as thoroughly as I can. No one pushed out incomplete files to make a date. One file update that I got at the 11th hour had the older MP3 version mistakenly left in while the FLAC was updated. That's a grand total of 1 file with an issue. That's not analogous to slapping together a video game to make a street date in order to not miss profit projections. We've always provided lossless versions of everything we've had available to us for an album. For projects like The Missingno Tracks that had such a long creation period and had some much older tracks, if we don't have a truly lossless version of a track, oh well. We still have other projects that started a while ago that may be in the same boat, and that's OK. We'll live. You'll live. Going forward though, we've already agreed that we need lossless versions of everything and that projects should be maintaining those files. We may need a more centralized area to gather those, so that's one for the next staff meeting. In many cases, it may take years before a project has enough momentum where we're fairly sure it'll be an OCR album, so it may be years after the start of a project before we then get files. The other alternative with missing FLACs someone mentioned was to take the MP3s with no WAVs and just redo those lossy MP3s as FLACs, which 1) isn't genuinely lossless, 2) makes no sense and 3) is disingenuous, even though most people wouldn't know any better. We'd rather not do that. "If we can't give them all lossless...THEN NOBODY GETS ANYTHING!" Not having 100% of the tracks bothers us too. But that suggestion is silly and just punishes people because of a personal hangup, that's all. Nope. Like what, a MOD file only? The primary goal is to release a complete MP3 set. If someone doesn't have an MP3 available, that means they don't want it published by us. As linked before: http://ocremix.org/info/Album_Project_Guidelines For the completion phase, I'll take a stab at fleshing out further specifics (i.e. WAVs must be 1411kbps, 44kHz stereo, album front must be at least 600 x 600 px). Users not knowing corrections is annoying, absolutely. Can't be helped. But for missing FLACs, since people apparently can't read the "Read Me" file included in the package, adding a "Missing FLACs" TXT into the FLAC folder itself will also be done going forward if the set's incomplete. We deal with the files how we wish, but we're flexible enough to not rake people over the coals if a 4 year old track has no WAV available, because we're primarily about putting out music, not being anal about FLACs. If you're having issues with burning specific Missingno Tracks files, you need to post in this thread and give specifics to the issue to see if they can be verified/replicated. The only other idea I'm walking away from with this is potentially pre-releasing a completed album package to the album participants before the official release, which would happen in an ideal situation. Obviously for an older project, it would prove a lot more useful at catching last minute issues. But generally speaking, that's not practical. But it's something to work towards.

Please send me your space-man Mr. Wizard doctorate salary monies once you graduate. Then things will be right between us!!!

Happy birfdayz! Curse you Brandon, always older than me. On the music thing, I'll never catch up, but on the age thing one day, by God, I will catch up! Jill, your Japan trip is my present, how about that? Bring me back something from GDC. Like coolblackman voiceover work! I'll take that! Otherwise, I'm good.

No, it wouldn't be better. It would be lossy. We're not gonna waste space with that to fill out gaps. Go ahead and make your own if you need FLACs so bad.

If you have a stick up your butt for 4Kids, that ain't our fault. Even if the awesome music killed you, I'm sure we'd be fine. You can't prove anything.

Spoken from the same guy who hated http://ocremix.org/remix/OCR01317/ - I've learned to ignore this guy. Older mix is old. It's an oldie but goodie!

Fixed. Also: Hooray!

Oh, OK. March 6th it is!

Is it not out yet? We probably cancelled it or something. You know how it is.

OC ReMix Publishes Free Missile Master, Episode 1: Invasion OST February 28, 2011 Contact: press@ocremix.org FAIRFAX, VA-Missile Master, Episode 1: Invasion, a retro arcade-style developed by Javelin for iOS-based devices, was released last year through Apple’s App Store. Today, OverClocked ReMix has released the game's soundtrack for free. BitTorrent download at http://ocremix.org/album/26/missile-master-episode-1-invasion-original-soundtrack. This marks the fourth time OverClocked ReMix, a community primarily focused on fan arrangements of video game music, has published an original soundtrack on behalf of a game developer. Missile Master, Episode 1: Invasion's soundtrack was composed by Kunal "ktriton" Majmudar, OC ReMixer and independent composer. OC ReMix will continue to publish more free game soundtracks on behalf of interested game developers and publishers in the future, providing convenient hosting and free promotion. Javelin, an independent software development company based in Norway and Malaysia, specializes in games and applications for iOS devices (iPhone, iPhone, iPod Touch). Missile Master, Episode 1: Invasion is available for $0.99 on the Apple App Store. Links Buy the Game (iPhone, iPod Touch) - http://itunes.apple.com/us/app/missile-master/id396657508 Buy the Game (iPad) - http://itunes.apple.com/my/app/missile-master-for-ipad/id364873238 Official Launch Trailer - http://youtube.com/watch?v=Ea-CdcZ6BB8 Album Info - http://ocremix.org/album/26/missile-master-episode-1-invasion-original-soundtrack OST Download (BitTorrent) - http://bt.ocremix.org/torrents/Missile_Master_Episode_1_-_Invasion_Original_Soundtrack.torrent Review the Album - http://ocremix.org/forums/showthread.php?t=33777 Javelin Homepage - http://javelin.com.my/Javelin/About.html Kunal "ktriton" Majmudar's Homepage - http://ktriton.com 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. ###

Missile Master, Episode 1: Invasion Original Soundtrack [OCRO-0004] Missile Master, Episode 1: Invasion developed by Javelin (http://javelin.com.my) for the iPhone and iPad Track 0 composed and produced by Kunal Majmudar, voices performed by George Nowik (a.k.a. norg) as the President and Christopher Getman (a.k.a. Mazedude) as the Commander Tracks 1-6 composed and produced by Kunal Majmudar Contact: kunal@ktriton.com • WATCH the trailer: • PURCHASE Missile Master, Episode 1: Invasion for iPhone & iPod Touch: http://itunes.apple.com/us/app/missile-master/id396657508 • PURCHASE Missile Master, Episode 1: Invasion for iPad: http://itunes.apple.com/my/app/missile-master-for-ipad/id364873238 While the rest of your colleagues in arms are having some R and R in Key Largo, the unthinkable happens. Earth is invaded by aliens, and it's up to you, Sgt. Sixpack, to stop them. Missile Master is not a shoot-em-up game, it's a shoot-em-down. All of them. Before they do any real damage. Armed with a sixpack, a tank and a whole lotta missiles, it's all down to attitude and skill. Mano-a-slimo. Tracklist: 00 Missile Master Intro [1:39] 01 Western Theme [2:32] 02 Egyptian Theme [3:42] 03 Ice Theme [1:18] 04 Naval Airbase Hangar Theme [3:28] 05 Northern Lights Theme [3:59] 06 March (Boss Theme) [2:39] Composers' comments: Javelin is an independent Malaysian/Norwegian software development company, specializing in creating games and applications for iPad, iPhone and iPod Touch. Missile Master was in the initial launch for the iPad. The team has really been great to work with... great game, lots of creative freedom for me, and reasonable deadlines! The game itself is a fun, retro-style point-and-shoot that hails back to the old Missile Command game on Atari, but with a few upgrades in the gameplay, visuals, humor, and--of course--music. "Missile Master Intro" -- I hired Mazedude and norg to do the voiceovers for the intro to the game. I revised the script & mixed/mastered the dialog. Also, I did the background music for the dialog. They did a great job... it's pretty hilarious. "Western Theme" -- I know as a composer I shouldn't pick favorites in my own works, but this is one of my favorite tracks that I've ever done for a video game. The stage takes place outside a US western city (like Los Angeles). I tried to take a militaristic, yet fun approach to the western culture. The guitar was a real challenge for me at the time I wrote this piece! "Egyptian Theme" -- This is technically the second desert stage in the game. I tried to keep the military feel of the storyline going, while channeling the ideas through a distinctly ethnic mouthpiece. "Ice Theme" -- Ice themes are always fun. This was one of the first pieces I created for the game. I took an electronic/D&B approach to the track to differentiate it from the hybrid orchestral pieces surrounding it. "Naval Airbase Hangar Theme" -- I had a lot of fun with this track. It was a chance for me to stretch both my orchestral and D&B muscles at the same time! As you can probably guess from the title, the stage is a Naval Airbase Hangar. I tried to keep everything as militaristic-sounding as possible, while exploring those same orchestral ideas within the electronica genre. There are a lot of subtle elements in this one. If you listen closely, you can even hear me inhale! "Northern Lights Theme" -- When I received the background and enemies for this stage, I was blown away by the elegant beauty of the level. I realized that I had to create a very organic track to reflect the ebb and flow of the Northern Lights phenomenon that the GFX team had captured so well. Hopefully the track reflects this. "March (Boss Theme)" -- Boss themes are some of my favorites from video games. In fact, when I listen to a soundtrack, I usually reserve the highest expectations for the final boss track. As a result, I wanted to my track to be big enough and bad enough to signify the climax of the game. I kept this one very electronic, but I think in a way very organic to keep in step with the rest of the game. Hope it came through that way! Kunal Majmudar kunal@ktriton.com http://ktriton.com Kunal Majmudar • Homepage: http://ktriton.com • OC ReMix: http://ocremix.org/artist/4664/ktriton • Twitter: http://twitter.com/kunalmajmudar • YouTube: http://youtube.com/ktriton Javelin • Homepage: http://javelin.com.my • Twitter: http://twitter.com/javelinapps • YouTube: http://youtube.com/javelinapps Missile Master • Homepage: http://javelin.com.my/Javelin/Missile_M/Missile_M.html • Facebook: http://facebook.com/pages/Missile-Master/105374879496072 • Twitter: http://twitter.com/MissileMaster • WATCH the trailer: • PURCHASE Missile Master, Episode 1: Invasion for iPhone & iPod Touch: http://itunes.apple.com/us/app/missile-master/id396657508 • PURCHASE Missile Master, Episode 1: Invasion for iPad: http://itunes.apple.com/my/app/missile-master-for-ipad/id364873238

The backing pattern is there almost the whole time (even when the melody was not), and served a foundation of the track, so I had no problem with this. The only weak part were the weird twangs at 1:39 and 1:41. The beatwork dragged after a bit, and the scraping-style sound for the beat pattern was grating, so the change at 2:07 was very welcome. Not sure the 8-bit tones from 2:07-2:27 were pleasing to listen to. They seemed to cut through too much, but that may just be me. Some comping, before the Schala backing returned to join it at 2:53. Though I wouldn't mind another pass at the production given what stuck out, the only gripes I had were minor in the big picture. Nice collab here on this laid-back take on a done-to-death source that still makes it feel fresh! YES

Yeah, short and sweet, this was more of a stylized, personalized take on it, but definitely got the job done. The piano during the chorus was a beautiful touch. I remember the mix you had on VGMix that was way more cover-ish and more of a genre adaptation. This one had a much more sinister vibe and stronger additive writing. Very nice! YES

Fixed for you. It's just a stupid opinion from purplecow that I don't respect. There's no such thing as doing an arrangement in the "wrong" genre, and I hate when people cry sacrilege about it when it's just a personal preference and not actually something more meaningful that that.

Swooping in way after the fact, but just happened to be listening and loving the crazy Katamari Damacy-style composition here. Would love to roll up some Katamaris to this awesome piece of work. Great arrangement, instrumentation, dynamics and tradeoff between the two sources, Blake, this is a huge favorite of mine. Short, sweet and awesome. YES

Yeah, it's not like VGMix 1 or 2 ever used genre labels.

I was only just finding the community when VGMix started, but lack of genre labeling had nothing to do with it. The reason I bring up ID3 tagging is because before the advent of blogs and tag clouds, when most people pushed the genre labeling idea, the central idea to do it was retagging the files, and that's always been a sticking point for the reasons I mentioned. People wanted to be able to download every file, sort the ones with a genre of say, Rock, keep those, and then throw the rest away, which we hated the notion of. Doing labeling that's not limited to 1 term and not part of the MP3s themselves avoids that possibility entirely. Yep, we had reservations, but aside from inertia/precedent, we ultimately felt the same way you do here. Some people will be picky douches about genres, but most others will explore more.

The drums were a bit weak, but OK, and the timing was a bit off to start. There was also areas of buziness almost coming off as distortion in the low-end, which is unfortunate on the production side. Due to the slow tempo, the arrangement only finally picked up around 2:00 with only 60 seconds left, so there honestly didn't feel like there was enough development here. I hate to sound like I don't like this, as it definitely has a lot of potential, but it feels half-finished, and lacked adequate polish. I like it, but I've gotta lean NO. Definitely take the good advice here to help tighten it up a bit.

Hate to cut, paste and run, but totally this. I actually could live with the level of interpretation, BUT it's still a bit underdeveloped and the clav and piano soloing needs to be more sophisticated and better articulated. But petty nice so far. You can get this passed with some more TLC, but fun track nonetheless! NO (resubmit)

Starts off pretty badass, with great interplay between the guitar and glassy lead. Kind of a strange choice to have sleigh bells in there and then... whoa. The strings at :53 sounded incredibly mechanical, too quiet, and completely off-key. Jeez... what happened?!? From 1:30-2:00, the string writing was very aimless. Yeah, that's pretty much the problem the whole way through, and I'm not sure why Chris wrote it this way. Finally at 2:44 when the string started doubling the melody with some grace notes thrown in, it worked a lot better. But as is, the strings killed this dead. Quirky as they are, I can live with the sleigh bells; they're an interesting touch. A common mistake we make on the panel is softening legit criticism with "a bit" or "a little," and I do it too. I thought Deia was WAY too forgiving for saying the strings were "a bit mechanical" when she should have said "very mechanical". I thought OA was spot on, and I don't know shit about theory like Vig does, but I know F'ed up part-writing when I hear it. I'm in agreement, the arrangement generally sounds solid. If the string had worked, it could have pulled off a really cool James Bond/spy vibe. But the strings need to be totally re-written to work with the rest of the track. Better string articulations and more presence. Sorry to lay it on you like that, Chris, but you should be capable of getting this back on track with some more focused writing that would really making everything click. DEFINITELY resub this, this is too good to leave it as is and not realize its potential. NO (resubmit)

Mastered pretty loud, but definitely digging it. The fading lead abruptly cut off at 1:29 right near the end of winding down. Not a huge deal, but the devil's in the details. Very nice dropoffs and builds. 2:46 felt repetitive going back to the initial melody with the same lead, even though the backing was fuller this time around. By 3:20, I was hoping this section would wrap up and move to something fresher, but at least we got some more alterations of the melody, subtle as they were. The source was in play basically the entire time once it started at :29 and ended at 5:15. I really could have gone for more melodic interpretation and sylistic variation, but what's here was nonetheless substantive and interpretive, with a nice side of groove bias. Reading CHz's vote after writing all this, we're basically seeing it the same way. We're movin'. We're groovin'. YES

Nabeel definitely picked a very strong source tune in the Prelude where he didn't really need to alter the structure, leaving him a lot of room to go for personalization while sparing melodic interpretation. Funny to hear that bread-and-butter FL Studio warble fade in around :25. When things picked up around 1:00, the soundscape definitely sounded too cluttered/compressed, so the dropoff at 1:14 was very welcome. Things picked back up at 1:45 and sounded crowded again. At 2:40, the dance beats added in there sounded rather flimsy, and the countermelodic synth stuff seemed really aimless, capped off by a really awkward clubby lead from 2:54-3:08. It wasn't a dealbreaker, but sounded thematically out of place with the overall major key sound of the arrangement. After 3 minutes, I'm definitely sure of this sounding very lo-fi and distant despite the bitrate; this really needed to sound cleaner and brighter, and I'm not sure why you got so many props for the production, when it could stand another degree of polish. No hate, it's fairly solid and not noob-level, but it's definitely not near A-grade. The changeup at 3:36 was definitely a good move though, and I wasn't bothered by the pause. Not a fan of the awkward clubby stuff AGAIN from 4:50 for the fadeout finish, which abruptly just went to I guess a minor key deal with only a few seconds left, and pretty much no resolution. Just a weird finish. On the arrangement side, this was relatively conservative, but expanded and personalized sufficiently, JUST enough where this was just above the line even factoring in the production choices that bugged me a lot. What's funny is that when I'm just thinking about what I heard, but not listening to it, I'm gravitating towards a borderline NO, but when I actually go through and listen again, it's solid enough and substantive enough where I think it merits a weak pass. It's rough around the edges, and working with this specific source definitely made the melodic component a lot easier, but it gets'r done by hook and crook. YES (borderline)

Interesting intro with some Rayza-style sounds. Pretty solid usage of the fakey guitar with great stylistic articulations and resonance that doesn't make you complain about it being a sample, much the same as with Vurez. I could have gone without the grating synth at 1:33, which was shrill/piercing. One thing that really hit me from 1:33-2:15 was that the overall mixing should have been cleaner. right now, it's too lo-fi and supporting details like the upright bass and acoustic guitar chords are definitely getting trampled to the point of nearly being inaudible. It's not negatively impactful enough to drag this down to NO with so many other things working well here with the instrumentation and arrangement. Very silky switchup at 2:15 to the acoustic guitar. The whistling sound was a nice subtle touch as well. The trumpet sound was noticeably weaker, but it still had reasonably good body and realism. The arrangement was smooth, with generally strong sound choices. I think we should get a 192kbps encoding to heard the details a bit better, and wouldn't mind another pass at the balancing, but other than that, I was really digging this. Solid work, Mansoor! I'm feeling the Konami/Genesis love. YES

Weird balancing. The melody at :28 sounded interesting with the vibes, but was way too quiet, making the guitar seem way too loud by comparison. At 1:08, the programmed drums being so tightly timed made the looseness of the guitar and other parts sound too messy and disjointed. I wasn't majorly bothered by any of the string work until 1:49, because it was too quiet to actually contribute much to the track. The sequencing was pretty unrealistic though. Then at 1:49, I really couldn't stand the mechanically sequenced sound of the sampled strings; way too upfront and exposed. I liked the textures overall, but the balance of the guitar work was off, and the timing among all of the parts never clicked together, making the execution sound too rough. Too bad, because the arrangement itself was solid, IMO. Really gotta tighten the screws on this one, the potential is there, Brandon. NO

Doesn't sound bad. The piano articulations that sounded somewhat mechanical, but were pretty solid to me. The rim hits and light drum worm really didn't work with the piano and choir elements. No synergy with the textures. The structure seemed pretty similar about a minute in. Damn, the same exact issues at :58 with the changeup, i.e. the drumwork doesn't fit the gothy textures of the rest of the instrumentation, so there was a lot of empty space in the soundscape and the textures didn't click. You definitely added some personalization to the source with the instrumentation and additional part-writing, but the structure was still fairly close. Another changeup at 2:04, but this time doing its own thing unrelated to the source for the most part. Everything up to 2:04 really needed more creative interpretation if the last section was basically going to be original material unrelated to the source tune. The organ was too dry/clean and could have used some effects to make it sound deeper. I agreed with the others about the balance issues, but was more concerned about the really bare textures that never fully clicked, no matter what section it was. NO