Eino Keskitalo

Tuberz delivered like a badass on the Crystal Cave Room track. More than I asked for actually, like is usual for him. I just need to find the time to set it all in place soon so I can share it on the project forum.. !

Sounds like fun!

Dunno if my stuff is any good for your purposes, but you have the permission to use it. Anyway, I would guess OCR's content policy works in your favour anyway?

Cool atmosphere. I really like how downplayed the drums are. Our five-month old seems to like the robovoice, she's laughing when listening to it.. (I agree it's quite shrill).

Cool track overall! I like that the lead sounds have a "robotic voice" kind of quality to them. It's very appropriate. The melody, in fact, has a mechanical feel throughout, which is also appropriate, but I could stand to hear a bit more changeups, variation etc especially rhythmically and velocity-wise here and there. It gets a bit monotonous as it is. I don't like some of the turns of the melody, some bits feel aimless. About 1:18-1:21, 1:33-1:36 & the corresponding parts in the later chorus, 2:53-2:56 feels quite random. 3:07-3:13 is better, but still kind of "ungrounded" in the writing. I like the part with two voices in between.

Somebody claim Crystal Cave. That's a great source.

If you release stuff through OCR, you've agreed to the content policy and it is effect for your song. Releasing your music through other channels doesn't invalidate the OCR's content policy, right?

A friend was the programmer for this one: Coffee Time - worth checking out, it's quite funny! Got a great reception at the jam site as well.

Ha, I remember hearing an arrangement of this in @KyleJCrb's GameFuel F-Zero special. Pretty rocking track I have to say, interesting to see what comes out of it!

Nice energy and beats, some nice stuff and detail on the background. I have to say, I was really, really hoping for some variation on the lead sound before 2:30-ish (very nice stuff after that!), it would have improved this track considerably!

Super nice work. Usual Tetromino tightness, but I do think I enjoyed this arrangement from them the most so far. There's tons of variety in the arrangement, my favourite is the ominous synth + heavy drums and bass section. I did think the ending was quite sudden, I was fully expecting a coda to wrap things up when that happened. In any case, a tight, super enjoyable version of a classic theme! (btw the "Download MP3" box shows an incorrect length on the ReMix page)

Sign me up for the 5/4 and 7/8 sequels!

Nice going! I appreciate the invite, but being swamped with other tracks to finish (and having no personal connection whatsoever to this particular FF) I won't be claiming at this point. Doesn't feel necessary at this rate!

I really like the combination of the acoustic sounds & the delay in the intro. The feel is very airy and pleasant. However, for my ears the harmony and melody don't work together at all at several points, making a good portion of the tune feel very random. Particularly the chord choices for the acoustic guitar don't seem to support the melody on the piano. This is too bad, the sound and feel of the arrangement are really great. Intro and outro were really nice. Looking forward to future work for sure!

I remember reading about the game on HG101. Sounded pretty good, perhaps I'll be inspired to pick it up!

Sounds like you guys are having a lot of fun. Wish I could be there.. ! DLd round 1 pack, hope to listen soon!

It's one hell of a track, too.

I've been a fan of Bowie since about the age of five, and he's always been the most important musician to me. He even did some VGM for Omikron: The Nomad Soul (not just the songs which ended up on the ..hours album either). Really sad he's gone. I don't have Blackstar yet, but the stuff I've heard (especially Sue) really hits the spots for me. Sounded like they (Bowie and Visconti) weren't happy with thinking outside the box enough when making The New Day and were able to break that down on the new album. Experimental Bowie is the Bowie I like best so I'm sad there wasn't more to come in this vein.. but most of all I'm just thankful for so much great music and inspiration.

Really, really nice source! (a bit messy harmonically towards the end though, but the good parts are great) Makes me sad how busy I am. I think I post something like this in half the PRC topics. But I'll keep this source in mind for future.

Thanks for the replies! Indeed, I should check the Finnish law as well. The Tetris case is a good point too - the nature of the source itself limits its usefulness I have to say. One thing I can add myself is that some of the rightholders may well have licenced the music with a Creative Commons licence. Such is the case with Shovel Knight (scroll to the bottom). It's a rare case, but I think this is good information to add to OCR database at some point.. ?

Wow, I totally missed the replies. The project in question would have been a freely streamable non-profit video (by a not-for-profit instance) on Vimeo. I was wondering if tunes with Capcom sources are ok to use (according to Capcom) in non-OCR context. I believe OCR has an explicit right to post rearrangements from Capcom games. The question is, do usage rights transfer to third parties.

Little tweaking to the duet leads. Done! FC 4 2016/01/08

Tight stuff. It's clear to hear how XPRTNovice is your go-to collaborator for this type of tune! The process Joe mentions (snippet recording) sounds like a lot of fun as well.

Ungh! The Mario voice samples definitely grab our attention (and seem to be quite divisive) but that's far from all there is to this solid disco house thumper. For my money, the SFX use is really well embedded to the arrangement. Even though the vox samples are pretty much in your face, they work to build the piece and are very well paced, and don't feel like used for their own sake. I can see if you're allergic to sound effect samples it would make you uncomfortable, but I must say I thought I'd heard enough Mario voice samples in arrangements but this doesn't grate me in any way. It's precisely because they're a part of the arrangement and not just pasted on top for laughs. The brilliantly James Brown-esque (indeed!) "Ungh!" is a simple highlight, and the "poing!" combined with the coin sound is delightful. I like the pacing of the beat, the sometime sparsity of the soundscape gives the tune a wide open feel, which is a fun contrast to the humorousness of the vox samples. The instrumentation is a good combo, I like the classic synth tones especially, but the tasteful splashes of delay and the disco borrowings of funk wah and string interjections are very effective too. Great opener for the album.

If the album ends up late for release, it can be polished a bit and released five years later!