OceansAndrew

I was at the twins/sox game last night and it was awesome. I didn't want to go because i was certain i'd be disappointed, but after the longest 4th inning of the season, they manged to piece things together by the end.

Damn it, Snapple, why you gotta be such a jerk? ;_;

Lots of Updated WIPs, and a few tracks that are nearing completion! Also, the artwork is almost there, and you've probably seen some it on the various banners, but we are almost ready for the whole art reveal. I'm pretty excited at least!

Ok, i've recieved a ton of stuff and the track is sounding great. I just have one more section to finish up, but I don't want to spam people. If you are interested in recording this last part, PM me and i'll get the parts to you.

probably stays in tune better?

Samples are a bit weak, but GREAT sequencing and production on them. With some pro level samples, specifically the strings and bassoon, this would be a completely beastly track. As is, it's not slouching at all, and has a lot of exciting moments interspersed with some calmer ones, and good transitions between them. There is plenty of good development as well, and though the track is long, it never feels drawn out for the sake of length. Fans of orchestra will love this one; it's exciting, dramatic, and it's obvious a lot of care went into it. Nice work.

The waves are a bit much early on, though I do suppose it is the ballad of the sea. Great laid back soft rock on all other counts. Nice drum fills, really classy stuff. Guitar in the second half sounds pretty fakey, but is decently sequenced at least. The ending was abrupt and maybe came a bit soon, but for a mix in the 300's, this one is definitely quality.

The vocal samples seem to be designed to kill people's ears. Complete pain. Sorry guys, it hurts too much to go on.

Lead tone was a bit thin, and there were some rough spots, but it was pretty fun and I do think that the suggestion of extreme volume and copious amounts of beer would make this sound pretty awesome. Solo was more just a straight-up guitar wank rather than a nicely composed lead, but I think it works on a gut level. It's intense at least. Good source selection, I dig it; not a perfect mix, but it's charming and fun, and would be good for a post-sporting event party.

This is one of the two bubbleman mixes that were my very first OCR downloads. AE and DiscoDan are pretty much the reason I knew about the site at all. Needless to say, this is a completely killer track with a great flow, great beats, and some creative synth use. The source itself is also a favorite of mine. I'd love to hear what AE has been up to. I bet by now he's mixed the entire mega man series.

hey guys i seem to have lost my trance. oh wait, I was confused. I mean to say pants.

If it isn't Sixto playing the sitar i'll be very disappointed. ;_;

I'm pretty familiar with the soundtrack, and I wouldn't have expected this track to get the remix treatment, and especially not this well. Actually it seemed like the whole project was more obscure themes from the game. Great beats, solid bass grove, and tons of layered percussion give this a fantastic foundation to work with, and the subtle details added with inaudible voices and synth flourishes make this whole thing excellent.

Congrats on your first mix dude, I know it's all improvement from here. I think that the sax needs a bit of massaging to fit, and i'm not sure about it's the best choice with how strong that orchestra goes, but you gotta work with what you got. Great sequencing, pretty good playing, nice source selection. Keep rocking, dude.

Really interesting track; I kept waiting for something to happen beyond sound effects and some pads, but it remained sparse throughout. I was a bit skeptical, but things became a bit more clear on repeated listens. Not really my style overall, but I can feel what the intent is, and for dudes looking to straight up relax, this fits the bill.

My second favorite Double Dragon theme, behind the title track, done up about as good as it can get. I love the rhythm guitar phrasing, the little breakdowns, the original touches, and the solo is killer. It was great back then, but is even better as a 'real' solo. The irons have been upped. Rock on, Sixto. \m/

It's cool to hear my beloved plink plink- plink plink ploonk turned into something so legato. I think a little humanization on some of the orchestra elements would have made this into something really outstanding, though as is, it is very good. Just some vibrato on the sustained notes, and as Mustin pointed out, some additional dynamics. I think even an additional minute would have been welcome, it seems like it ends too soon. Very nice stuff, however.

When I first heard this one at DoD, I thought "Virt? Viiiiiiirt!!! Why did you redo your song from a few years back?" After a few listens, though, it was pretty clear it was a different guy altogether doing a somewhat similar song on the surface, but underneath, there are a lot of unique differences. The guitar playing on this is beautiful, great emotion and some good chops to boot, a few sections that seemed a little sloppy, but it's solid (lolz) where it counts. The chorus sections are excellent, and really help make the song great. Arrangement and flow are excellent, with the vocal samples and sound efffects used to add punch to transitions in a tasteful and cool way. It kicks up the song a lot, and the varied soundscapes and colors are great. This one is great, I wish there was some more from Musicalman all up in this.

I agree with some of the comments that the solos here are just a really good excuse to keep grooving on that backing track. I love the piano doubling the bass part near the middle section, and an interesting fade out to transition. I think putting the pass and drums front and center in this mix and using the other instruments to just color things a bit is what really makes this one succeed. My only real wish for this is that I wish the ending was a bit more graceful; the fill before the final note seemed a little small for a jam of this magnitude. Otherwise, awesome work.

Nicely textured and cleanly produced, but damn it seems way loud to me. I suppose when everything is so clean you can afford to crank the volume as high as you want. Great transitions and varied sections, pretty groovy overall.

I think a track like this can be compared to Hitchcock style suspense, rather than a lot of the more blockbuster style tracks on the FF7 album. It almost plays out like a good thriller, there's only one real spot that it specifically jumps out, but the buildup to that point keeps things interesting until then. That of course would be the killer false ending; it gives you the impression of things being over and safe just long enough for it to jump back out at you. It feels completely massive and works so well, all due to the buildup. This is really menacing without being completely overblown, and the gritty percussive slashes and heavy piano hits really make it move with a purpose, though it distinctly doesn't sound like it is out to make new friends. Excellent work.

I think a little less reverb on this one, as well as a bit more part separation would have made it cleaner, but this is definitely something I can rock out to, mud or no. The beats are crisp at least. I am a massive fan (and potential abuser) of gated synths, and you really brought it on this one. Great breakdowns, some very nice additional partwriting, and good sound choices. I'm way down with the leads, and I loved how you saved the original pedal point section until the halfway point. I was waiting for it the whole time, and when it finally hit I was all . I liked the whole thing, except the end was a bit weak, but overall great stuff. Well played, comrades.

Great energetic and ear-catching flute sound, it's an awesome way to start out a track. I loved the transition to the pads and then the more agressive bass, but was totally not expecting the guitar section. The transition could have given a little more warning, but I think it worked. The high end was a bit piercing on the lead there, but sometimes to properly rock, someone needs to die. It's just the way of the world. The juxtaposition of the flute and crunchy rhythm playing was killer; really a great sound. I really didn't want this one to end, I think a bridge section could have smoothed the transition to the rock part, but there's so much to love in this mix overall it's not really an issue.

A very classy arrangement, but the sound just gives me 'bad acoustics' vibes. Enough has been said about that, so lets focus on the strong points. This is a very personalized and intimate sounding mix, where it sounds like you guys set up in my back yard for a somewhat informal jazz concert. Great solos, and though the performances are really loose, I think it works overall, and it's something nice and unique for OCR.

Mazedude did a great job developing vibe on this one, it starts off so barren and alone. Awesome work getting that feeling of vast emptiness; the bells are especially haunting, and though it never really picks up to the type of chug i'd associate by glancing at the song's title, it does pick up, and has plenty of careful movement. The synths are fantastic and really give a great color to the solid foundation. Beautiful and really introspective.