Eino Keskitalo   Members

Uuurrrggh, I really don't have the time, but I would definitely feel the pressure to try to update the tracks I headed in time for the album. It's just that I leaned on Jorito for the final production each time, so that'd also put pressure on him as well I guess!

Nice timing with the pick! Both seasonal and also current thanks to VV3. It is a good theme. I just started playing CV4. I'm familiar to the theme beforehand thanks to fan arrangements, but now I've got the theme really stuck in my head thanks to actually playing the game.

Third spot ain't too bad, especially as the competition for it was so close. Wow! Thanks for running a cool compo, Shariq. I hope to work some more on all of the tracks I headed, not before long. It was so cool to team up with Jorito & Tuberz again!

Awws, I should've gotten myself posted earlier. 1. It takes me a lot of time to give thought-out comments, and I rarely have that lately. I can usually think of something more to say than "hey I like this cool" but processing that into actual sentences takes a ton of time for me. 2. I wonder if reviews could be made more profilic than just forum posts.. maybe counting them separately (not just posts count, but also review count, why not also "workshop comment" count.. would raise their profile). Not as much to reward people who do the reviews, but highlight the importance of the comments. I often find a lot to criticize or comment on that the panel or writeup didn't cover, and I'm sure there's a lot that can be said about my posted pieces that hasn't been said already. This probably isn't what you mean with "what is happening in the piece", but I really like to read "readings" of pieces, what they say or seem to mean to a particular listener. You don't have to understand music in a technical/theory level to do this, which is nice (though you have to be able to write about what you think or feel) Of course, constructive feedback for a specific piece is most useful when the piece is in progress, but I find feedback after the song has been released very useful in a more general sense, where I can apply it to current work, or just get my bearings where I am going. Maybe it matters that my rhythm when making things is very slow. I take a lot of time to finish a piece and finished pieces stay long with me, I like to listen to them a lot. So they're still within my "active knowledge" so to speak, and I can apply feedback on them to my current work too (this is also why I don't mind the long wait on the panel etc that much, personally). Man, you should definitely not stop from commenting. You're not pushing your views to anyone. You're making your view available to them. It's their responsibility to handle that. And if you said something controversial perhaps, more people would hopefully join in on the discussion. It should only be a good thing, right? Self-discovery in a vacuum sounds like a bad idea! I never get that. O_o Haha, "evktalo" and "active", I've fooled you somehow. Now this timaeus222 guy, always posts good, helpful and thought-provoking stuff whenever I post a wip myself. The mindset I've had when posting reviews (to finished or WIP pieces) is that it's an opportunity for me to learn. If I can articulate my thoughts and feelings about a piece, it'll improve my own music making. I'll also learn to listen better and closer, and I'll learn more about e.g. mixing, about which I definitely didn't have a clue about before coming to OCR and I've improved a lot in that regard. But I try to review other people's work so that I could improve myself, it's a selfish motive which I think makes it more honest - I'm not aiming to influence others (as much) but make making music clearer to myself. I've been thinking that we should definitely have that December reviews thing, especially noticing that the newer mixposts need to catch up with the number of reviews. Let's do it!

Only from a distance.. certainly on my checkout list.

Very nice, impressive!

I'm still humbled by Callum's enthusiasm for our track, and generally to all three guys who stepped up to help out with it. It wouldn't be on the album without these guys I'm sure! YAYYYY LISTENING PARTY! Maybe, just maybe I'll be able to make it.. certainly hope so!

Cool tune, Journey to Silius does have a lot of great music. I participated in PRC138, and I'm still thinking of redoing my track for OCR.

I did play through the first stage, just beat the first boss & began the second stage. Looks like it's full of exciting stuff, the whip mechanics are quite fun, lots of (vampire) variation in the levels, fun and impressive ideas (like the fence with gates, drawbridge, etc).. The music is indeed quite fantastic. Finally watched the intro too, and understood why there were these sound effects in our source tune

Finally finished reading the HG101 book on Castlevania. Think I'll finally fire up and play SCIV as well. ..yeah. Never played it. I do remember reading a lot about it from possibly dubious gaming magazines and game guides, so I do have a little bit of roundabout nostalgic connection to the game, ha. Looking forward to Halloween :-[

Haven't put a note down since SFRG.. so strange. We'll see.. I should do two WIPs for projects before this too. Anyhow, hope to see some other entries at least!

Man, it's really been a while since the last post in this thread. I wonder if some of the hardcore sentai fans here (ping DarkeSword, Arrow) know about Chroma Squad? It's a tactical squad management game about "five stunt actors who decide to quit their jobs and start their own Power Rangers-inspired TV show". It's less than 10 bucks on Indie Gamestand (steam key included) and I'm getting it, more for the genre (the reviews are positive too), but the premise sounds fun even from outside of the fandom. https://indiegamestand.com/store/989/chroma-squad/

Posting to agree about the title.

Haha, great Halloween pick! I was compelled to do the Psycho Pinball round last year on PRC, and the pull is strong with this one!

Source usage to Laulu: I used the A and B parts of the Sigma source as verse and chorus. The melody is from Frost Walrus: for the verse, the long sustains of the A-part broken up rhythmically to incorporate lyrics. I shifted the line upwards in relation to the tonic to fit the Sigma source. In the chorus, the melody is from b-part of FW, I had to change a note or so to fit. The (unfortunately unfinished) bridge/break between 2nd and 3rd chorus is the final part from FW. The outro is the first four bars of the B part of Sigma. I also sprinkled a little of the FW A-part descending melody to the piano in the second verse. Here's the lyrics to "Laulu". The idea was to make something for our newborn daughter by using NGGYU as the basis. The music itself is not exactly childern's music. verse 1: emme ole muukalaisia olleet milloinkaan emme tule olemaan sanotaan tämä on vain peliä, keksi omat säännöt me autamme kyllä chorus: en koskaan hylkää tuota en pettymystä en anna periksi milloinkaan uskothan kun sanon sen miks' itkettäisin valheit' laskettelisin ei hyvästejä milloinkaan ei ensimmäisiäkään unused verse 2: täydellinen omistautuminen, sitä suunnittelen mitä muutakaan kokonaisen ihmisiän olemme tunteneet tämä peli loppuun katsotaan Let's do a translation via Google, it should start looking a little familiar: we are not strangers had never we are not going to be they say this is just a game, invented their own rules we help yes I will never reject produce I do not disappoint I do not give up at any time please believe me when I say it why 'itkettäisin valheit 'laskettelisin no goodbyes never not first either (unused second verse) complete dedication, the more I plan what else an entire age of men we have known This game is considered complete Slightly correcting it: we are not strangers, have never been we are not going to be they say this is just a game, invent your own rules we'll help I will never reject will never disappoint I will never give up please believe me when I say it why woud I make you cry (why would I) lie no goodbyes never not even a first one (unused second verse) complete dedication, that's what I plan what else we have known for an entire lifetime this game we'll see to the end

Eino Keskitalo Somber Sting (Blast Hornet in Sigma Stage 2 [X3]) Splash Supafly (Splash Warfly in Sigma Stage 2 [X3]) Temporal Bliss (Magna Centipede in Sigma Stage 2 [X3]) Maverick Astley

AWESOME!

Yeah, I spent extremely percious time on goddamn hihat patterns, that I should have used on recording another verse & actually putting some stuff on the bridge. edit: ditto on the busy man thing Tuberz said

"Still Running" sounds good.

Good job with the floods! My favourite was the obscure flood. Nice selection, and I was also happy to see the effect of compos there - particulary the compos that highlight nonmixed/undermixed music. Looking forward to next year!

Well, game development workforce isn't organized that much. It is not unimaginable that (any) creative personel did receive royalty share from hit products. VA people are organized apparently, so they have the leverage to put this forward.

Yeah, I wouldn't stress about samples. When I say "production approach" what I'm thinking it's not just the base sounds, as it mixing and performance. Stop me if I'm talking about my ass, but the 32-bit game orchestral style is rather dry in mixing & rigid in sequencing, and putting care to mixing/processing the sounds, and working on the sequencing to create a lively, dynamic performance, so to speak, goes a long way. And even if you did get more expensive samples, they still won't mix and sequence themselves - I understand that you'll have to seqence specifically for each library you use anyway. There's plenty of great-sounding orchestral mixes on OCR made with cheap/free samples - you'll just have to sequence for them and keep their limitations in mind. Mind that I know just about nothing about making orchestral arrangements, or even 32 bit era soundtracks, so take that as you will - I'm also not evaluating here if your arrangement has or hasn't careful mixing and lively/dynamic sequencing - it's just a good point of view to look at the piece in regards to OCR standars, from what I can tell. Hope this helps rather than confuses.

Nice stuff! I like the violin as an instrument choice here, it adds something unusual, yet fitting. I'm a sucker for jazz/prog violin! Good adaptation. I'll have to try to give this a closer listen. I did feel like the melody could adapt itself to the chord changes more.

Yup, the atmosphere is really nice. The bell-y/mallet-y thing coming in at 0:26 is way loud/bright in the mix. I think you could bring it down a couple of notches and it'll still be nice and upfront in the mix. There's something off with the harmony of the mallet at 0:32-0:45 (maybe the notes at 0:37 & 0:44). When I listen on repeat it starts to make sense, but on a first listen it sounds quite off and I tend to think the first impression is the "correct" one. I like the weirdness of the harmony at 0:46-1:00. There's nice variation in the more ambient textures, but around 1:13 I feel like the mallet has dominated long enough, kinda wish the lead would change. Writing-wise the change at 1:13-1:27 is great, it pulls the steadiness of what went on before into a new direction. 1:27-1:40 seems unfocused and directionless, the figure coming out at 1:34 seems strange playing on top of the other material. Overall in the first two minutes the pads seem to have some harmonic components here and there that don't line with the rest of the writing? 1:56 the overall vibe is really cool. The arrangement from there on is actually quite lovely. Some of the bell-ier tones, I guess the mallet & the new steel-drum like stuff, feel too bright & a bit too much on top of the mix. There's something off in the backing notes, I can't tell which instrument because the sounds are a bit strange, which I really like actually. Overall the structure feels scattered, the ending kind of tapers off, which is a cool effect in itself but overall the structure feels unsatisfying. I don't think it necessarily needs *that* much tweaking; evening out the mixing & dealing with the unfocused 1:27-1:40 would help a lot. Need to also check out what the pads are playing & how it fits with the rest of the tune. Lots of crits but I really like where this is going, the mood is great and there's a ton of potential.

Wow, a weird, cool, minimal & (practically) short source.. challenging stuff!