Radiowar

i think he means works using that specific instrumentation which are inventive in harmony and texture i really dont know much about masashi hamauzu but ive always liked vielen dank a lot!

cant wait to hear this!! thanks for puttin this together darke, i love melee but am a complete outsider to the "scene". its nice to be able to be a part of this event in some small way! man between this album and the tournament streams im gonna get absolutely nothing done this weekend

some good namedrops there dope source also im down w/ this u are biting rustie pretty hard here not gonna lie ! use of game samples is tricky, i think theres a time and a place. if you look at a track like 'hover traps' you could conceivably listen to that without knowing where the vocal samples are from, but then again if you listen to his essential mix part of the fun is picking up on the samples. i think you just gotta find that balance between how overt you wanna be considering the context. imo there are parts that work (0:33) and parts that dont (3:27). the cursor sounds and the lavos noise are maybe not entirely unsalvageable, but you might wanna look into ways to alter them slightly so that they fit into the context a little better, rather than jumping out as THESE ARE GAME SAMPLES (edit: just realized i was listenin to the old version. the lavos sound works better in the update for sure) youve definitely got the overall Sound of rustie down, and i can see how youre connecting that to the source. that said, it does lack that over the top insane rave crunk energy, and without that it doesnt matter much how nice your sounds are whether thats to do with the way its mixed, the sometimes sparse drums, or maybe just too slow a tempo, im not sure. point is it should definitely not feel slow. also it would be cool to hear more of the melody from the original, rather than strictly the arp stuff i did not agree with 3:43 for Personal Subjective reasons. i realllly would love if you went super deep there after that tom roll like cbat or rustie's city star vip, it just begs for it imo. but thats just me! i like this idea though and i think there is potential ! lookin forward to updates

i think part of the issue that pokemoneinstein is describing is the fact that youve rolled off so much of the high-end that in some registers we hear more of the key action than we might like (the section from 0:58-1:30 stands out in particular, where the high pitches in the piano are almost entirely lost, and the ones that arent are quite piercing). i think theres a lot i could say about this remix. there are a lot of really nice moments (the section at ~3:00 is very cool). i think what really holds this arrangement back is partly due to the source, which doesnt exactly give you much to work with. i think the general idea youve got here (crescendos, building texture, etc) is a good approach to the source, but i think it could use more musical variety. for one thing, the theme plays beginning to end pretty much throughout the entire piece. the few modifications you have made to the source are generally limited to slight rhythmic changes, and little variations of those last few notes. i would experiment with fragmentation of the source, which would allow you to Hint at the original without stating it outright, thus creating suspense, anticipation, etc. which is to say, dont be afraid to have moments without explicit statements of the theme. and dont be afraid to let the piano take a back seat occasionally! nearly every statement of the theme in the orchestra is doubled in the piano. it might be nice to allow the orchestra a moment to develop on its own, if for no other reason than to contrast with the sections that are so focused on the piano. a few nitpicky things: that suspension at 0:24 sounds to me like it should really resolve down. you could even do it with a turn if you wanted to have that upper note in there. thats subjective, but i think there a couple arguments for it, first being that it is (i believe) a C chord where we would expect the F to resolve to E, not G, but also that our familiarity with the original creates the expectation for that resolution. i personally think that the F-E suspension could be a really effective play on the listener's expectations. the piano part at 0:54-0:58 is a little confusing, for a few reasons. that fragment in the upper register seems to come out of nowhere (dynamically speaking), but also because im pretty sure its not possible with the lower arpeggio and chords in the middle? if you do want that fragment to be there, it might be a good opportunity to get the orchestra involved. perhaps you could give that part to the violins? seems like theres an off note in the trumpets at around 1:43-44, that minor third drop sounded unintentional, or awkward at the very least.

gotta keep working! make something new every day, know when something feels good and when to throw something away. dont ever think about your "sound" and definitely dont think about it relative to what other people are doing, or what you think they want from you. do what makes you happy!

this is still one of my favourite things

i just listened to it once. i'll have to write something more in-depth later but for now...majora's mask is easily my favourite soundtrack ever, i used to listen to both discs of that thing beginning to end. it wasnt just that the music was great, but i think simply by virtue of the kind of game it was, the soundtrack very explicitly had a kind of narrative to it. not only are these brilliant arrangements (zelda's lullaby - genius) but imo youve achieved a higher level of arrangement here, these are the colour of majora's mask

oh holy shit @ third day dude

this tourneys gonna be dope

https://twitter.com/apex_series/status/280547720815595521 the apex twitter posted a link to the album art but it's broken ? did anybody catch it

HOLY HELL this mix is raw. this is like some jonwayne shit. and in 2002? damn. loooove

Penguins Are THe Lowest Form Of Bird THey Can Not Even Fly Fuck Outta Here W/ ThAt Bull Sh*it

im just gonna throw this out there: eleanor daley's requiem (the recording is hard to find/out of print, and the only performances on youtube are of the 4th movement). i sang in a choir that performed this work a couple years ago, so im biased towards it, but i think it is incredibly beautiful. it's somewhat "traditional" as 20th century music goes, but there are a lot of interesting harmonic and textural things going on (movements 5-8 are pretty special).

this is probably 90% of it. if the majority of the music you listen to is music that is DESIGNED to basically manipulate you into feeling something, then music that is more subtle about its themes, dealing with a fine gradient of emotion - or perhaps not concerned with emotion at all! - is going to seem bland or impenetrable. i would avoid the idea that there is a "way" to appreciate music. it suggests that there is an "answer" to music, it's like asking how to solve a painting. you can study music theory or history which will give you the tools to appreciate a piece of music in a structural or cultural context, but really, either a piece of music speaks to you or it doesnt. the important thing is that you approach each piece you encounter with an open mind and a willingness to listen !

rrrrrrrr i was gonna get this game off virtual console to play through while listening to this but apparently it got taken down like a week ago?? what the heck >

oh, i want them

while we're pointing out flaws...i cant be the only one who scoffed at this "artists" rendition of the barrel. the vessel depicted here could generously be said to exceed a volume of 100 L, and could scarcely be expected to fit an ape of kiddy kong's girth, much less two in their adolescence. i think i speak for all of us when i say that, given the high profile nature of this album, and if for no other reason than the sake of authenticity, the cover be modified to show kiddy kong's lifeless body sinking slowly to the bottom of the river, with dixie clutching the bottom of the barrel through which kiddy has now rent a gaping hole, desperately struggling to maintain her grip, but in vain, for want of a fifth finger

i'd argue that autechre are actually the truest "idm" artists mentioned so far, i don't think it's fair to say they are dada or anti-music. from what i've heard of them in interviews they are quite sincere in their approach to truly experimental electronic music, i'd say moreso than aphex twin or squarepusher who generally work within pre-existing forms (not to say that autechre haven't as well). but i guess it all depends on your definition of idm, a term which i think is so busy being loaded with contempt for what it isn't that it says next to nothing about what it actually is. not to mention the term is generally used to describe abstract forms of techno and dnb styles that were popular maybe 20 years ago, that aren't necessarily revolutionary or "intelligent" at all by today's standards. aaaanyway, having said all that, here are a few great albums that at least meet the criteria of being (i think) experimental approaches to dance music: emptyset - demiurge mohn - mohn byetone - symeta

wait till you see this youtube video i found of beethoven sampling daft punk for his unfinished tenth symphony, and then the related videos of the progression of art as a dialogue among creators

thanks! here is a clip of a relevant scene:

this is an idea i've had for a long time but only now have felt like i could actually pull off convincingly. i'm pretty happy with how it turned out ! http://soundcloud.com/themstars/them-stars-locke

first one seems more electro house than anything. it's a nice loop, but i dont think there's a lot i can say about it aside from that ! second beat is great, love that sample and the groove is nice. only thing i disagree with is the bass, i might go with something a bit warmer, not quite as harsh. third beat is also really nice, the only thing i'd say about it is that the balance seems off (might have something to do with the track that preceded it). i think the sample could be eq'd a little so it's not drowning out the kick quite as much?

if you are into that sort of thing i'd recommend anything from touch or kranky. lots of great field recording/minimal/process ambient music (although kranky tends to lean towards an indie rock aesthetic)

wamp tim hecker - dungeoneering grouper - vapor trails http://www.youtube.com/watch?v=um1SHDnvK08 fennesz + sakamoto - 3222 http://www.youtube.com/watch?v=pY45vQVoTxg

im not sure if this has already been suggested, but seeing as the kickstarter has met its goal 4 times over, why not divert some portion of those funds to future projects? assuming from the overwhelming support that this is not the last time ocr intends to pursue physical releases. that way the use of the money is in keeping with the spirit of the kickstarter (as opposed to the nebulous "operating costs" that seems to be drawing controversy), and whatever results from that can be used in contests, promotional giveaways, fundraising events (ones which are explicitly intended for supporting the website, like Support OCR Month), and the like.