Fishy

truss rod adjuster has got to be at one end or the other of a neck. On Acoustics/classicals its usually just under the sound hole where the fretboard ends. You might have to take the strings off to be able to access it.

This. OA said he would compete in every DoD this year, and he improved ridiculously. Every wip I heard was just better and better in shorter time. Kind of worthless if you don't actually play an instrument though.

Its all about productivity levels and workflow. My old setup was ridiculously quick, but since I switched to Logic, I'm sounding a lot better, but takes so long sometimes to come out with something polished. Once you've got a decent workflow in your DAW, you can blister through tracks I'm sure.

Happy bday foo. Have a good'un.

Well if we're ever put in a situation where we have to bother counting seconds of chords just to prove that it is a remix of that theme, then something is clearly questionable about the arrangement. Also the use of the word "dominant" in the standards is an unarguable defense for NO'ing this, I really don't see how some of the other J's can overlook that repeatedly. Whats the point of a standard like that being there?

You haven't heard 'Call It Sleep' until you've heard it on vinyl; That is the most raw piece of guitar music ever.

Who said that and what were they smoking?

Joe Satriani - Surfing With the Alien Steve Vai - Passion and Warfare Steve Vai - Flexable Not a giant collection, but certainly a quality one. I'd love a Dark Side of the Moon vinyl too.

Ok so, without a doubt this is a great track in itself. Great playing, really full sound, a few minor pops or whatever but they weren't much of an issue for me. Even up loud they didn't get annoying or anything. Awesome solos and all that jazz, no disputes that it sounds gorgeous. On the arrangement side though, I agree with Larry, whats there just doesn't link to the source significantly enough. I listened to it before I had checked the source, because I assumed being an FF6 fan I would recognize it, and I didn't. Even after I knew what the source was, it still took a while to place the parts of source. The standards state submissions should be "identifiable and dominant", and imo it failed both. This isn't an issue of judge bias or who subbed it as Snapple would have you believe, its just far too liberal. I would expect a remix to feature the source, but as Mr Oji pointed out, its crossing the line into "inspired by". It's great stuff, really, just needs to be more recognizable. NO too liberal If you do more vg remixes, for the love of god submit them because your style is fantastic. If you submitted something much closer to the original with melodies in tact and then solo's as additions, it would be approaching direct post stuff. As a judge, there's nothing more better then hearing a new guy bring something fresh like this to the table; I'd much rather hear stuff like this then something a little more cookie cutter from one of the veterans.

Bearing in mind its an older mix from the lower bar days and no one who voted on it has been a judge for years; The mix makes at least subtle change in everything above except the chord progression. I agree that it sounds quite conservative, but even djp noted in the writeup that the arrangement aspects were pretty subtle and more arrangement would've made it fit OCR a bit better. Also this can't really count as Nepotism/Favoritism as bLiNd only had 2 mixes when this was posted and he wasn't really the just plain unfairly awesome maker of Electro he is now.

http://www.celemony.com/cms/index.php?id=dna&L=1.%253FL%253D1 Melodyne looks friggin sweet, I might actually be able to sing a song with it! In terms of "external" plugins, I pretty much only use Addictive Drums. I've been trying to record everything live lately so I barely use any software AUs. Most of Logic's standard use effects (reverb/delay/multipressors) are outstanding, never really needed more. Maybe if I made more electronic music I would need more. Been trying to find some decent distortion and modulation effects in AU form though.

...Mazedude doesn't have any DKC remixes? This is just a blank assertion based on nothing. Even if he did submit a cover, it WOULD be rejected outright. It'd be nice if you came up with an actual example of a major inconsistency. Me passing your work doesn't mean I think its "good". I judge it based on the standards. If the arrangement works regardless of style and the production is clean enough that it doesn't detract from the arrangement, it passes. AeroZ submitted the most badass peice of awesome I've ever heard and I had to reject it because most of it was original, and he's a "site favourite" if you will. There's always going to be a variety of opinions, its human variation. Not everyone hears everything the same way, but the point of having so many judges is that you get an average perception of a few people who've shown to have good musical ears, which usually balances it out. Also I'd say that blatant nepotism could do with a blatant example.

Make projects the pocketman way, start it and give it to someone else! Also are you still doing your track?

Tekken Tag is pretty good for a fighter. MGS2/3 are kinda shooters with reasonable stories, if a little confusing. Shadow of the Colosus has big robot-type things and is epic. FF12 can fight itself if you want it to, you mostly just step in when stuff is going badly. Its fairly grindy at times, but at least its easy grinding. And there's none of that random battle rabble.

Hey, just wanted to say glad to see you're reworking it . Sounding much better, especially the orchestral parts towards the end. Good luck with the resub.

Well he said he's trying to get into the industry, so he can loose a lot of time when it doesn't happen. Testing is not a great way to go about it. Figure out what aspect you want to want to work at (music, art, animation, programming or whatever), learn the basics and join a free mod project or some lower profile games. Build a portfolio and some skills. You'd be extremely lucky to land a development job from games testing imo.

Just checked again, 4 screens after much much begging.

This name plus the fact its gotten 9% on rotten and was banned from every US cinema is enough information for me not to even give it a chance.

Just for the record, some of these sound acceptable on OCR based on the samples. The mario jazz is tight and not covery at all for one. Also, the whole OCR only accepts soul-less polished crap is kind of a weird conjecture, I don't see that written in the standards. I YES mixes with questionable production if they have a lot of character quite a bit and larry hasn't come knockin' to kick my white ass yet.

I got bored of OOT and TP somewhere in the second half of both. I've completed WW twice now, probably will play it again soon. There's just something about the style that is so much more playable.

Do you have any information about the game or website to look at. Most people aren't likely to give free music unless you have evidence that the project is going somewhere. I google'd your company name and the only response was this thread, which has no evidence of the projects existance. Just saying, we'd need to know more about it/like to see some screenshots or concepts.

Well even so I would disagree. Most of the finished ones are, but of the 15 odd random ones a lot of them are run by lesser know/unposted mixers or even non-mixers. I'm on most of them, I would know.

I'm gonna agree with zyko on this. They're doing exactly what the style calls for. The 2:12 vocals mentioned above are clipping due to over-distortion, but that sounds like an isolated example to me. Overall I don't have enough of a problem with the vocal distortion or mixing to warrant a NO. Likewise, the drums could be better, but its not as if they're bad. The overall mixing is a little muddy, but I could hear everything fine. I've heard worse mixing jobs on accepted rock mixes. Zyko was saying this should be getting more then NO, resubs by now, but honestly I can't see why this isn't getting even one straight YES. Metal is incredibly difficult to master, being very high energy and fast, and they've done a great job of the style, better then a lot of other passes have done in their own style. The arrangement is strong, and frankly I found the main problems of a lot of other votes to be nitpicks as opposed to major issues. I've listened to this repeatedly for a while just to be sure; I enjoy this remix, and I have no glaring issues with the productions, call me generous but YES?

Harr, this has been funked to hell and back. Like it. This is one of my favourite FF8 tunes and you certainly gave it a twist. Interesting filter work, those extra low notes in the intro were awesome and the bass is sweet. Everything has maybe a touch too much verb as AnSo pointed out but you can still hear everything fine. The solo harpsichord was just epic. The FF8 section in the middle was very strong on arrangement, nice use of the vocal samples, especially at 1:20 with the filter. Transition back into the house theme well into 1:50. Arrangement is fine for me, obviously on the short side but an entertaining take on two darker themes. Production is generally strong though I would've liked a few dryer sounds to maximize the funk. I think Larry should reconsider this as well, the aimless out of key bit you mentioned was straight source. I got annoyed when a section of me and RKs remix was quoted as aimless when it was direct from the source, I'm sure Siamey would too. From me though: YES

Harr, I downloaded this just before you posted. Vote comin right up. EDIT: I think the overall groove of this track works well. Its one of those beats where you can't tell if its out of time or not, or even if it was intentional, but it works for me. The beat is swung, but the bass line doesn't seem to be, which is where that weird timing comes from. I agree with the comments saying that the beat could have used a beefing though. The orchestral elements build very well, and they compliment the groove. The main point of contention is really whether or not the overall feel created works, and to me it worked fine. What I think really makes this track is how the key moments and changes are built into. The 0:38 intro, the 2:29 breakdown and re-entry, the way everything builds up to 3:45 and cuts out for the ending. The execution of these moments pushed this one over for me. Its definitely not without its faults, but I didn't find the beat as antagonizing as others and the moody arrangement full of lovely dark chords hit me in the right way. Arrangement is above bar easily, and I can see why production might be borderline with a few frequencies fighting each other, but I think it does the job. A nice take on the theme and I hope to hear more. YES