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It could be clipping in one of the plugins. I wouldn't expect it in pro-developed plugins (except some really hard limiters, bitcrushers, et al), but it's possible some freebie plugin can't handle the overflow. If it disappears when you solo the track, it's probably not clipping on the track itself but in the output. In other words, everything is too loud. Lower all track levels / put an effect _first_ in the output channel that reduces its gain. Does it still glitch/clip/whatever?

The RRR artist links go to a shorter artist url, with /remixer/artistname/ instead of /artist/artistnum/artistname, and it 404s to a /remixer// when clicking on the link to /remixer/navi/

Yup, I'm just waiting on wips now. That's how we do it now. Looking forward to hearing what you'll bring to the project, Malcos, likewise SX. Wips. Tracklist openings every month. Progress. That's how we do this now. We should have done this years ago.

Look, he has a twitter.

You're already on MangaMan's project. There's another one by Miguel Bulteau / berlioz. They know of each other. Neither is finished. Stuff in R&C is easy to check, so I would expect project leaders are aware if there's any new project based on the same game(s) they're working on. Can't say about musicals, but in 30 albums ocr hasn't had that many vocal tracks at all, so I wouldn't expect a lot of them. Between available games and the number of music directions to take with a project, I think you guys won't be stepping on any toes. Also, vgmdb doesn't list any fanmade albums of mm. So don't worry about it.

With everyone else talking about ear training and that, lemme talk arrangement. Failing to transcribe everything correctly, or leaving stuff out can lead to more interesting remixes. Usually, listeners recognize the lead voice of a song before anything else, so the rest can be switched up. While it's nice to have everything in midi to pick and choose from, starting from just the melody and writing your own chords, your own rhythms, your own stuff to go with it typically leads to a more personalized remix. While ocr likes to have the source in there, nothing says you have to use the parts the same way as the original did. if allusions to the melody work better as a bassline while something along the lines of the source's bass might work better as a lead melody. Transcribe what you can and what you need. For all the good practice is, practice just ain't fun when you just wanna work on a mix. While I'm not saying you shouldn't practice (yes, it's helped me too), just focus on getting the melodies and rhythms you need, and use those. Over time, this'll be easier because it _is_ practice.

Explain my ten posted remixes, then, I ain't got no masters. This board is a great place to learn to listen critically, and that's pretty much a requirement to making good music, no matter where you are.

Finally. Also, promotion campaigns: Let's talk. If cryptic messages on youtube vids are too obvious, let's come up with some alternatives. btw, Usa, post here.

Rock is retro. Jazz is retro. Classical music is retro. Horns are retro. Rhythms are retro. It's not the age, or even what it is that matters; it's how it sounds that matters. A mix made with just a beer bottle and some screws should sound terrible, and a mix made with the most expensive music libraries out their should sound great. And yet...

Because the last project-related campaign did so well. Seriously, it's a cool idea, and best handled with some subtlety. Posts like "somebody remix this" will probably do better than "dudes, ocremix is making an sd3 remix album". Or were you talking about messages actually made towards some ARG thing, secret codes and multiple-site stuff? That would be great to design and execute, tho I would rather work on tracks to get a complete album done sooner. And the teaser. Waiting on a little more art atm, gonna start picking tracks for it after that. btw, your behemoth of a track is spectacular. edit: I suck at reading. Secret slogan suggestions welcome, everybody throw us ideas!

I'm not even sure exactly which osund you're after, but what you've got now sounds sharper and more like electrical noise than what I recall from the examples you psoted. Try routing all your layers to a bus and putting an amplifier simulation on it. You probably don't need heavy distortion from it, but it can unify the tracks and give you some soft, irregular distortion.

The intro had me a bit worried, so I did some math and arrived past the guideline minimum 50% source, even without counting the second source. So that's good. For a track this long, the 44 seconds of intro I couldn't tie to either source is tolerable (unlike the arghbright synth melody at 0:25). The interpretation is a bit predictable, but the minor key take on the source is a welcome change, and I think the source melodies are sufficiently creatively used throughout. it might be worth mentioning the second source when you resub it. The arrangement is a bit problematic. Half the time it seems to be building towards a pretty cool edm track, the other half it seems to lose where it is and where it's going. It spends a lot of time building towards something, but only transitions to a different build-up. I guess 3:08 and 4:33 where the parts that were being built towards, but I honestly felt the track lost energy when entering the 3:08 part. Probably the rhythms and lack of strong mids. The dubstep finale work better in that regard, and works especially well in slowing the track down for the ending. The intro works ok but leaves me at 1:11 already feeling like the track is winding down. That break and subsequent build-up seem to come straight from the intro, not from a high point. I don't think that works, structurally. The sounds are quite vanilla, but I'm more concerned with how empty the track sounds at times, and how dominating pads and other sounds get when they're there. The piano could be more separated from the trance stabs in the 0:44 part. On the other hand, the 1:12 part has the opposite problem, where the piano stands out a bit too much. The pads get dominating at around 2:00. I get that they need to be big for the 2:10 part, but that part hasn't imo been appropriately been built up to, and it's more intense than when you've got drums in the track. That seems a little unbalanced. As already stated, the empty mids in the 3:08 part, along with a rhythm that until 3:16 holds the track back (a valid arrangement technique, it just seems placed wrong here) hurts the track, as does the heavy compression/sidechaining in that part. If you look at the wave display on soundcloud, you'll see that you've left a few dBs of headroom. Seems like you normalized the track to a different peak, so there's probably an instrument that's too loud somewhere in the dubstep part. You could also limit the drum transients to make further use of the headroom you've got. All this while reducing the compression (higher threshold, lower ratio, shorter release, something) on everything else. Much of the track has passable sounds, a bit vanilla but not terribly so. The arghbright lead at 0:25 needs some fixing, tho, as could the eq/filter at 3:07, it's a bit too resonant. Overall, it's far from terrible, but there's things left to fix, and I'm not sure how well the arrangement works: there's parts that do and parts that don't. It's also got a personal pet peeve of mine: voice clips/sound effect, but don't let that bother you. You've managed to avoid most of the problems on the checklist, so I won't even use that. I think it's primarily the arrangement that's a problem here, the technical things are fairly easy to fix. In this state, I'd probably reject it if I was a judge, probably with a resub vote suggestion you rethink the arrangement. It seems lacking in this nebulous thing called direction. It's like you have all the right parts but they're not in the right place. That's my arghlong review, make of it what you will.

Can I, a project leader, make my album available only while the number of ocr page likes is a prime number?

This thread: misunderstandings and them being cleared up, also whining.

Is this really that different from when we have no idea when an album is released? "Some time after the trailer" is pretty much all we know for most releases.

If it sounds good, ocr doesn't care if it came from fart samples or a live recording of a virtuoso playing the most expensive instruments ever in an actual concert hall. if it sounds good, it sounds good. Old drum machine sounds are used a lot in electronic music, tho nowadays they're typically layered with other samples for a bigger, harder, or otherwise different sound. A remix that only uses old drum machine sounds for its drums would probably have to be made in an 80s early 90s style for the sounds to fit together. As for the drum writing, you can make blocky, pattern-y, repetitive drums with any drum samples, and it'll still be blocky, pattern-y, and repetitive, just like you can write intricate, varied, human drums with any samples. A jazz band track should usually have more human drums than a hard electronic track, and some variations and fills will work better in some styles than in others. Ultimately, it's just supposed to sound good.

It's a genre. No, it's a sound. No, it's a style. No, it's an instrument. No, it's an ensemble. No, it's a subculture. No it's a giraffe. No, it's noise. No, it's art. No, it's just data. No, it's bad production. No, it's outdated technology. No, it's science! Ensemble kind'a makes sense, tho.

I don't want this anymore, because it might get popular. Facebook will NEVER know that I like nerdy things. I don't wanna know that other ppl like it too. I think good things should never be given publicity. Liking things is against my socio-political views. I don't want this anymore, because seeing the likes means I can sort of figure out how long I have to wait. I don't wanna support a community that makes music I want. I don't want other ppl to like what I like. *unlikes* (...aaand some white text down here for ppl who don't have a sense of humor...)

The solution? Sub good chiptunes. See what happens. For that matter, I think the standards are well written on this matter. The inbox might get flooded by n00bs who think their incoherent clashing mess of random bitcrushed samples and raw waveforms is on par with what actual chiptune artists do if it wasn't discouraged.

Click Edit, then Go Advanced, there you can change the thread title. Let me caution you about making a big project. You've got 21 tracks listed there. You'll have a more manageable project if you aim for a single disc's worth of music. If it balloons to more than one disc, that's cool, but it's easier to start small. As for "helping you out", what exactly are you looking for, and what exactly can you do yourself? A project will typically do better if contributors have faith in the project lead's ability to either get ppl on board and keep things moving and/or to make mixes himself/herself. All that said, you're approaching this with a "fishing for interest first" approach. That's good.

Quick thoughts: I think the parts are well written on their own, but some of the transitions and the overall progression doesn't work. The fake guitar doesn't even sound like fake guitar. The bass drum is weird. Doesn't sound right imo. I could be wrong, check your references for how trance should sound like, see how your drum matches those. The rest of the sound design seems to fit the trance mold well.

Just for reference, inbox ppl, how many pure chiptune submissions does ocr get per year?

OCR's Terms of Use here. As for ocremixes being less remix, more original, it's true to a degree, but they're still arrangements of the original, copyrighted works. That game companies generally aren't asshats means we can do stuff like this, and ppl can use it for game-related stuff without fear of huge lawsuits. Typically, companies send out Cease and Desist letters to fan games, which is a far cry from the lawsuits using riaa music would get you. That vgm tends to not be monitored the way nor to the extent popular music is in tv and movies doesn't diminish the copyright. The game sphere is just a more tolerating culture, I guess.