Level 99
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Posts posted by Level 99
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One day, when Sebastian has piloted the country of Sweden to our noble shores, we can once again celebrate together with good tunes and great booze. I wish that day were today, but since it is not, I'll just wish you a happy birthday.
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Could I please have my name changed to GoodlyMike? Not Godly, it's Goodly, thanks!
Oh hey, it's you!
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I r jelly of yer abilitee to mesh such smexy songness. This song is fantastic.
Congrats to you on coming so far with your music, and for now being in a prime position to help get others to your level. Cheers, mate.
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So what's up wit it?
We didn't quite make the goal, but that's okay. I have all of the album art, and am waiting on two last pieces of track art before getting the bundle underway.
I'd like to take a moment to reflect back on the project's beginnings, nearly two years ago. In terms of my expectations of what this project would be, they have been met and exceeded on countless levels. I can't wait to show everyone what we've all been working on for so long, because I'm sure you're all going to find something to enjoy on here.
To the musicians, the artists, the fans, and the supporters, you all have my eternal gratitude.
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Happy belated birthday, you Fijian!
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Okay, listening to this you've definitely got some cool things going on. It's fast, and it has a good amount of intensity as a result. I'm not supremely versed in this genre of music, but in-general, there's quite a few things that need working on:
1) Your production could use a lot of work. Right now, there's a lot of muddyness in the mids and low-ends which is a result of sample selection. The majority of the instruments you've chosen sound very "stock" and unprocessed, inparticular the bass sample. If those are the best samples you have to work with, then you need to take time fine tweaking and processing each one. Example: the bass treads on the kick drum quite a lot. EQ the bass and kickdrum to not share too many of the same frequencies (bass should be focused very much in the low-mids and have a minor boost in the lesser-highs, so for example tweak the bass to be scooped between 200hz and 1700hz, and lower the shelfs on either end. I'm throwing some numbers around here but you need to tweak it to fit your sample and mix. Kick drum should also be focused mostly in the low end with a small boost in the mid's, and sidechain the kick to the bass for when they are present together). Separating and sending groups of similar sound to busses for group EQ-ing and effects will yield even better results. Blue Cat has a really good frequency analyzer for free, so definitely check that out. Once you have tweaked your samples to sit well in the mix, you can focus on the "mastering" of the track. There's a number of free plugins available that are good for that kind of thing, but one that is really easy to start with and learn is Sweetboy T-Sledge. That has a number of presets, and I ran your track through mastering type9 to show the difference: Mastering Test. Take some time, experiment, read tutorials on this stuff, and definitely keep posting new versions here for people to listen to.
2) Transitions. I can not stress enough the importance of transitions, especially in a style like this where things can go on for a with sudden changes over a very similar instrument layout. You do use the reverse cymbal a few times through out, but tinker with some drum fills at the end of sections or phrases, maybe try throwing in that
(white noise passed through an automated EQ that slides a single boost up the range), and write parts for some instruments that begin slightly before their main usage and/or go slightly past their main usage.3) Arrangement. The second half of the song is, as far as I can tell, just a copy of the first half. Not just that, but there's room for a lot of arrangement variation here. Writing additional melody support, changing up the song structure to more differentiate it from the source, even putting in original sections. Also you should write an ending that resolves the song, if you're not going to do a fadeout. The song right now just kind of...stops, which is very jarring.
Yes, there is a lot I said needs work, especially if you're considering submitting this to OCR, but you have a really good base here. Being meticulous about production, transitions, and arrangement will yield a very good result from this!
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It's private, no one's really supposed to know other than the OCR staff and maybe directors.
Pretty much this, yeah. There's no ready list of what projects are complete, but directors individually do their best to keep their own threads up-to-date. Which, if any, album inparticular did you have a question about?
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Hey Wes, I hope they're not giving you too much trouble in boot camp. I kept your room just as you left it, and am taking good care of your doll collection. We do miss you like crazy, though. Take care, ~Stevo
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What's the prerequisite then or could it be any game that is in any stage of development?I'm sure you'd need to talk to either the Judges or DjP on a case-by-case basis, here.
It is definitely case-by-case. I just asked Larry, he says that if it is an unreleased game, the music has to a) be proven to be in the game data and
be a game of notability.If anyone is going to make a remix then you guys are in luck. A user named Gil-Galad in a diffrent forum made an NSF rip already.HOLY SHIT THANK YOU.
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Wouldn't the game have to had been released for it to be mixed at OCR?
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One of the most sought-after and legendary unreleased games for the NES, Bio Force Ape, was found last year, nearly 18 years after its cancellation. The game, which has been previously hoaxed, was recently dumped and finally released for play. Furthermore, I honestly can't get enough of the music for it! It is super catchy.
You can read all about the game, get the dump, and watch a complete playthrough here:
http://lostlevels.org/bio-force-ape/
Edit: Jamie uploaded the rom for use over at Virtualnes.com. You can now play it in your browser RIGHT HERE!
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No "Mystical Ninja Starring Goemon"? I am disappoint.
Honestly, it was tempting but...it was neither obscure enough to be an inside joke, nor popular enough to get people's hopes up. I love the Goemon series though, the music in nearly all of them is fantastic!
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The soundtrack is most definitely not a joke, good sirs. No spam, please only comment on the album (I'm looking at you, Brush!)
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Click the image for the website!
In the vein of Sonic 4, Street Fighter IV, and MvC2, Team Fasto has finally decided to make a sequel of its classic hit game Fasto the Speedhog. Fasto the Speedhog 2 marks the return of everyone's favorite high-speed hero in an all new adventure. Fasto 2 features all new levels and an all new retro-soundtrack by the same team that brought you the soundtrack for the original Fasto the Speedhog.
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To anyone wondering, Teen Agent 2: Teen Harder IS happening. It'll include more refined remixes for the "bonus tracks" that were on the first album, and also intro-b which wasn't covered. Look for it!
Umm, they're all happening. Why would we have made a trailer and threads, preview music AND started recruiting for them if they weren't happening?
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Of course not. I'm sure they'll all be free.
Not really, the licensing fees for some of the games, like E.T. and all the Game Over tunes, have forced us to start charging a premium for some of them. We'll have to open our own digital store at some point.
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Yay!
Thanks for the response guys! Getting the lyrics for all the songs isn't a bad idea.
Most songs are not remixes, but these are:
Battlecake, Poolside, djpretzel, DannyB, Kunal, A_Rival
on Esuna, David Saulesco's is the only remix (it's of SHINE TONIGHT).
(:
Also:
$2,144 / $10,000
*ehem* Acque Luccicanti is a remix of Dire Dire Docks from Super Mario 64
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;_; How will I ever show off my horribly platforming skills as Bad Box Art Mega Man now?!
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Edit: Well, today is the LAST day donations are open for the project! What a long, strange trip it has been.
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I think this counts as my first Mod Review! LUCKY YOU >
The opening reminds me what would happen a John Carpenter bass synth had sex with the Terminator 2 opening.
I'm actually surprised, Red Zone has some quite complex and unique sounding music, especially for the Genesis. And fuckin' 'ell, the source tunes are LONG.
Okay, breaking this down: for the style that you're doing, most of this works. The mix is a tad flat and lifeless, and on my Senny HD280 Pros, I'm not hearing enough bass. Then again, these headphones don't pump bass as much as they should, so I will test it in the car during lunch. I will probably suggest raising the low-mids on the bass so it becomes a bit more audible. This will likely help how flat it sounds right now.
The lead guitar's performance is good, but gets spotty at times. I am an absolute stickler for tightly-timed guitars, so what I would personally want is for you to go back and fix up timing on the lead, and potentially boosting the high end of that tone juuuuust slightly, so it raises above the rhythms. The volume between the rhythms and the lead is fine, but that little extra shimmer should make the lead more prominent and audible, thus addressing some fo the lack of high-end in the mix. Your guitar tone is crunchy and gritty, which works for this song. Maybe turn down the gain slightly since there's a bit of excess fuzz during parts that muddies up the mids.
There's an issue that happens from 2:33-2:45 where the combination of the kick and the guitars causes db clipping. This also happens momentarily at 3:43.
Arrangement-wise I believe this passes. I can clearly hear both Title and Night Mission in there, with some clever improvisation throughout. Nice work!
One last recommendation would be to variate the drums a bit more during some of the fills. You really take the super-fast kick and snare rolls for their money's worth, and near the end I started to notice how static it made some of the fills feel. There's no specific part I could say absolutely needs changing, but look throughout and see what can be done to change up some of these fills that aren't necessary to be syncopated to the guitars.
Overall, I definitely enjoyed this, and it is getting super-close to being ready to sub IMHO.
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It is with uh, great pride that I dedicate this new school, sports arena, or attraction. (Cuts the ribbon and drives off.)
(But no seriously, this makes me hot. Awesome work, Ben.)
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get esuna, you drunk goose, it has healing powers that will make you sobe---err, i mean, even MOAR HIGH
Yeah, seriously, don't skimp on Esuna. Just because it has less remixers and more people you don't know doesn't mean it sucks. Actually, Esuna was worth it just for Bustatunez track, everything else is icing on the cake.
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I donated to this, why haven't YOU *points directly at you. you know who you are*
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TF2 aside, I'm glad someone mentioned this. Twisted Metal 2 was a PS1 classic: my brother and I will still play some co-op every once in a while (Outlaw and Axel for life), and I still listen to the soundtrack today. And then...there was TM3. Mangled gameplay, goofy character stories, nothing but licensed music. Blech. 4 was a slight improvement, but not by much, and nowhere near the awesomeness that was 2.
I will give it one thing: if it had to get licensed music, I'm glad they got Rob Zombie and Pitchshifter. Too bad it was basically the same 4 or 5 tracks repeated over and over! And yes, everything else about it was absolute shyte. TW2 was gritty, raw, goofy, and completely immersive. TW3 just took it all and said "fuck it". Strategy for any level involved getting as many ricochets as you could, finding a safe corner and firing away.
They almost redeemed themselves with Twisted Metal Black, but nothing can really make up for TW3. If TW2 and TWB had a baby, the series would be back on its feet.
I had almost completely blocked out the horror that wasUGHHHHHHHHHHH!
Metroid - Mind Bender (Intro Theme)
in Post Your Game ReMixes!
Posted
Shaun, whenever you remix a track, I never have a doubt in my mind that it will be an exploration of sound textures and prime example of how to process a track (even if your source usage sometimes isn't as apparent as it should be
). That being said, there's a couple of weird pops coming off of the drums throughout the song, though I assume that is by design. Just food for though: consider doing something to minimize the the high end of those pops, because it hurts my ears slightly on my headphones.
If willrock is going to help you with your arrangment then I will keep further comments on that for later. I do like the vibe you are currently working with. One thing that might be cool is to progressively build and beef up those glitch drums with samples that get thicker as the song goes along, adding in some mid-bass along that transition to help complement the sub bass that I can't hear but have no doubt is in there.