Pongball
-
Posts
14 -
Joined
-
Last visited
Content Type
Articles
Profiles
Forums
Events
Posts posted by Pongball
-
-
Hi, I don't post here much. I know some of you from elsewhere on the internet, but for those who don't know me, I suppose the things most relevant to this community are that I write video game style music, and I'm Hale-Bopp's wife. :>
Anyway, the music I'm going to share is mostly for people who loved the Super Nintendo era and have lots of nostalgia for its lo-fi sound. I used instrument samples from various SNES games to create these RPG-style tunes.
I'm hoping to make a full album of music in this style eventually.
Enjoy!
-
I heard Hale's final mix several times before he sent it off to Jose for mastering, and it was much fuller and brighter than it is now. According to Jose, this is what happened:
It's a real shame, honestly.I left it up to Dave to mix the choruses to his satisfaction, but in all honesty, I thought they were a bit overpowering compared to the rest of the track, and I made a decision between troubling him to tone it down and compressing to get it to behave more. Looking back, I think the highs suffered somewhat.
I thought it sounded much better before. To my ears, it's not only missing the high end, but also a lot of the low end, wideness, and overall volume depth. It sounds like I'm listening to it on an AM radio station.(I'm Hale's wife, btw.)
-
Wow, I wasn't expecting another birthday thread here this year.
That was really nice of you though, thanks! -
Finally, more vgmusic veterans! After nine years, Pongball and I meet for the first time. Nario on the left, Hale-Bopp second from right.
Awww, that picture turned out great. :> It was nice meeting you and the few other OCR people I met there, even if it was very brief.
-
Rockin' remix! Very well done, guys. I like that I instantly recognized where the song came from in the game and that the memories of playing this game immediately came flooding back. I can't wait to drive around to this and rock out even more. I also can't wait for Nuts & Bolts. This is getting me pumped up for the new game.
EDIT: oops, this is Hale-Bopp
-
I'm pretty sure that's actually from the official Starfox OST. I'm not sure who arranged it, though.
-
Oh wow, I wasn't expecting to have a birthday thread here of all places.
You guys are sweet, thank you!Also, that's pretty crazy that Dragon Avenger and I share the same birthday. What are the odds of that? Happy birthday, DA!
-
I said hi to your wife and I think I scared the hell out of her. Maybe if I'd been wearing my OCR shirt she wouldn't have been quite so terrified.
I don't remember that happening.
I do remember meeting you, though. I told you that you have the same name as my guinea pig. :>
Btw, it was nice to meet all you OCRemix people. It's a shame that I only got to meet most of you very briefly.
-
Are you sure you're not thinking of Donkey Kong Land 2? As far as I remember, DKL1 didn't have any level with thorns in it, or any way of flying around, for that matter. DKL2, on the other hand, was a remake of Donkey Kong Country 2 with different level designs. It definitely had some thorny levels, and the song used in those levels was actually a simplified arrangement of a song originally from Donkey Kong Country 2, which has been remixed quite a bit. Check out the "Stickerbrush Symphony" remixes here:
http://www.ocremix.org/game/donkey-kong-country-2-diddys-kong-quest-snes/
If that's not the song you were thinking of, pretty much every song from DKL has already been sequenced in standard MIDI format. You can find them all here:
http://vgmusic.com/music/console/nintendo/gameboy/index-af.html
(Scroll down to Donkey Kong Land)
-
Alright, there's no one STRONGLY in favor of granting copyright owners the ability to use mixes in for-profit contexts, and some who have expressed concern, so that part of the policy is going to be removed. I'll edit it and remove it now.
Awesome.
Thank you. -
I agree with Pongball & Larry on the part that should probably be taken out - the ReMixers did make the arrangement, and so they should be compensated somehow if it's used commercially. It gives less incentive for rearrangers out there to submit to OCR since a company may be able to hijack the track without giving proper credit to them.
Well, it's more that I think the remixers should have a bit more control over that situation should it come up. Many remixers would probably be fine with letting the company use their remix for no compensation. Others might find that unfair, and prefer to arrange a deal with the company themselves. I'm sure most would prefer to at least be contacted first.
It's a pretty sticky situation no matter how you look at it, since the remixer is infringing their copyright to begin with, but I think many copyright holders (such as the example that Liontamer gave just now) would still be rather sympathetic.
Anyway, like I said before, I can totally understand that djpretzel is just trying to protect the site by offering copyright holders a benefit too, but when you think about it, it's pretty doubtful that a company that has a problem with the site would suddenly be like "Oh wait, this changes everything!"
-
It's a good question. No one's yet objected to this specific point yet, but it's new as of this policy and wasn't around in any form previously.
It's less likely that the game composer owns the copyright to the game music in question (Yuzo Koshiro being one exception) and more likely that the publisher, e.g. Capcom, Nintendo, etc. owns it, but either way, we're saying that those individuals - and only those individuals - can use OverClocked ReMixes that arrange their copyrighted material in a for-profit context, if they so choose. In this instance, we're not ceding ownership of your work, but rather attempting to acknowledge that said work didn't involve any sort of permission from the original copyright owner. Given that these copyright owners could at any time send us a pretty solid cease & desist, the objection of which would require very subjective interpretation of fair use, this is sort of a nod to the game companies that if they wanted to use an OC ReMix in one of their games, on an album, etc., they could do so.
I could go either way on this one... my intention was to prevent cease & desists or any sort of potential legal issues by "throwing the copyright owners a bone" so to speak; a bone which would also, incidentally, mean a good deal of free publicity for the site and the ReMixer involved. However, it *is* granting license for these entities to use your music - including the original parts they had nothing to do with - for profit, none of which would be passed back to you.
So, there's pros and cons. Hopefully that answers part of your question.
As for your owning those parts of the mix that are originally yours, yes, that's correct. This policy, however, would involve your granting license to OCR, and through this policy to the original copyright owners, to use your mix specifically as the policy describes. Including the original bits.
I honestly feel that it would be better to just leave that part of the policy out entirely. I can see where you're coming from in terms of trying to offer the copyright holders something in return for not sending out cease & desists, but at the same time, the remixers themselves are getting a pretty bad deal out of it.
From what I understand about copyrights, there are three different types that apply to music: there's separate copyrights over melodies, the recording itself, and any lyrical content. In the case of most remixes, the remixer actually holds more copyrights over their remix than the copyright holder of the source music. In most cases, the remixer owns the copyright for the recording itself, and also for any original material within the remix. The only copyright they're infringing on, obviously, is the notes of the melody that were taken from the source music.
In the case of a remix with original lyrics, the remixer actually holds three copyrights over their mix, while the copyright holder of the source music holds only one.
I personally agree that the exposure of having their music played in a commercial work would be great for most remixers -- but it should still be up to them to negotiate how it's handled. Having the site give the copyright holders of the source music permission to use a remixer's recording, original melodies, and possible original lyrics however they please just seems really wrong to me.
Assuming that this contract is retroactive, this seems really, really wrong to me. None of the remixers submitting music up until now have agreed to license their music for use in commercial material. This would basically be saying to anyone who opposes this part of the policy but has already submitted their music here, "Sorry, you're screwed, we changed the contract."
I wish I had a better answer for how to please the source copyright owners, but I still feel that this is not the way to go about it.
-
Er, wasn't it supposed to be revealed who did what at the end of the contest?
I know which one was Hale's, and it's pretty obvious which one was DragonAvenger's, being the only female vocalist, but I really haven't a clue which of the other two contestants did which entry.
Also, in support of Hale's request to have the entries linked directly from the first post... I checked out the songs from the last round after it was over. I think there's probably quite a few new people who check out this board from time to time, and like to see/hear the entries from past competitions. It's kind of a teaser you can't.
Anyway, I don't mean to criticize. It was a great contest, and I really enjoyed hearing the results.
Stop Saying "Sounds Like A MIDI"
in General Discussion
Posted
Hi OCR.
I am just dropping by here from Twitter (Mustin tweeted this thread) to suggest that from now on, the term "MIDI" could be used as a unit for measuring the overall sample and production quality of a track. If a standard MIDI file played directly through a low-quality General MIDI synth can be measured as 1 MIDI, then perhaps the average track accepted on this site might be measured at 25 MIDIs. To keep things simple, a live recording with perfect production quality could be measured at a nice round number, like 100 MIDIs. But perhaps in the future, technology will exist that allows us to surpass the 100 MIDI mark.
Example of usage:
"This track only sounds like 7 MIDIs. You need at least 13 more MIDIs before it's acceptable."
or:
"Pongball, your SNES music sounds like half a MIDI."
Okay, back to being too shy to ever post here.