Level 99

Mark TOCPM as complete, dangit!

For some reason I thought this was the Guitarist Hate thread and got all confused.

Burfffffdays

And this is why there are multiple workshop mods. I finished source checking myself and I have to agree, it is pretty liberal as is. Since none of this is live instrumentation, there should be no harm in making this have too much source and then picking places to inject original material. That kind of method might be easier than taking something too liberal and trying to shoehorn source in there.

Nope, I've double checked on both my phone and my desktop, and I have been listening to your latest version. I'd definitely wait for another workshop mod to chime in and agree or disagree, though.

I need to spend more time with the source to make best comments about the arrangement, but I will say there is a lot about this that works. The panned percussion element is pretty cool, and a lot of the sounds you have picked out work very well. The concept is neat transfering the source to a more electronic style, so good on you for that idea. Two things I can point out immediately that are holding this mix back are the drums and your choice of panning positions. 1) Drums: I need to play this on my monitors, as well as my car stereo, but that kick is super-weak on my headphones. I'm not sure if it is based much more on the sub-bass levels, but it is barely audible as it is right now. You would do well to also layer another kick on top of that one that has some punch in the midrange. The snare is, for lack of a better term, "mushy" and very wet. A crisper, more pronounced snare with some reverb on it would likely achieve your desired effect without losing power and covering up other instruments, which is what the snare does a bit right now. The hi-hat also has too much reverb on it, either that or the wet/dry mix is turned too far into the wet. The clap also suffers this wetness. Overall, the drums just need an overhaul. 2) Panning. The instruments, in general, are either very centered or very hardpanned. For things like the percussion that goes throughout and is present up to the end of the song, that is okay. However, the piano, the chimes, the choir at time, the lead buzz synth, all things like that sound quite awkward when they are hardpanned. Keeping them panned is a good thing, but tone it back a few notches: experiment at what those instruments sound like between the 40% and 20% panning range. I think your soundscape would be better as a result, though after doing so you might need to tinker with the frequencies if mud starts to become present. More info as I get more familiar with the arrangement, but I hope that helps for now.

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.

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.

Oh hey, it's you!

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.

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.

Happy belated birthday, you Fijian!

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!

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?

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

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. HOLY SHIT THANK YOU.

Not even close. Not at all.

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!

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!

The soundtrack is most definitely not a joke, good sirs. No spam, please only comment on the album (I'm looking at you, Brush!)

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. Fasto the Speedhog 2 Website (with MP3 links and player) Fasto the Speedhog 2 Full Soundtrack ZIP

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?

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.