Gario

I would disagree wholeheartedly, as well - Liontamer has always held that position, so don't you peeps forget it! All that aside, congratulations on the position, bro. You've always been pretty fair on the WIP boards, so I expect you to shine as a judge now.

Yeah, I know the production isn't the greatest on it + the thin soundscape issues. It was a timecrunch issue, so I couldn't get all of the issues addressed at the time. I think I'll fix it and share with the WIP boards sometime, though. Thanks for clarifying that for me.

Truth is oozing from this statement. I wrote a song in Db Major/Minor once (switched between the two keys often enough where it didn't matter what to call it) and got a lot of flak for using a signature with so many flats rather than, say, moving everything a half step down and making it in C. Problem was, though, that I was using an A-clarinet, and the lowest note that it can sound is a Dd, and it was how I set up the mood of my piece, so it was physically impossible to make the desired change (moving up would make the piece less sonorous, so that wasn't an option, either).

You know... that's a brilliant idea. Not like there's an elimination, or anything, so no reason not to have one's own alternative tally, if you want it.

I can't say what reason you have for it to be rejected (Unless it's the meandering of the arrangement, which it does a little bit... but that's not big enough to really pull the mix down), but if the silence the only issue they'll probably accept it and e-mail you in private telling you to fix the silence. No biggie.

Y'know, if everyone is having a real problem with this why don't you guys find DS and talk to him about it in IRC or something and discuss it with him there? Rather than talk about it among yourselves, just ask DS if it would be a problem to change the point tallying system to another proposed system that people agree with, while it's not too hard to change up. It's not easy to make something like this work for everyone, so don't get upset over it in here - it's not going to help, and will probably just dissuade DS from having a compo like this again (which would be a damn shame - I'm enjoying this quite a bit, personally). Talking to him more or less in private would be a better option than venting about it in here. I would also like to add this: when did the compo become about winning rather than making cool music? It's not like there's a grand prize waiting for us at the end - it's merely set up so that everyone has something to shoot for (and therefore tries their best at it, producing better music overall).

It's on the first post in a spreadsheet.

Acapella's untouched on OCR, but it's boss on OLR. Alright, back to WCRG talk.

Sub'd mine... I think I hear a skipped beat in it, but I don't think it'll affect it much, since it's a sort of SFX. EDIT: Fuck it, I won't be able to sleep tonight if I don't fix it... there, got it fixed. It's re-uploaded, now. I think you guys will like it.

Waitin' til the last possible moment, of course. Bloodshot eyes, coffee stained teeth, sick beatz. Oh yeah. Jeez, I need to vote, too. What the hell have I been doin' this past week?

Yours is the first I heard, actually - you posted a video with the track on it a week ago. I'm just posting my thoughts on it in this thread since you want a review of the track

This may just be the best thing ever, I'm not even lying.

Ooo, very different from your normal style. Tinkering with the forbidden fruit of Chiptunes, I see. I will start by saying this mix is pretty awesome and would probably have a good shot at the panel as it is. That being said, there are a few things that catch my ear that would could probably do better. The overall mix tends to get cluttered. The drums overpower the other instruments a bit too much, imho, the textures dominate the themes and melodies, when there's counterpoint between the to themes (which is awesome, by the way) they fight for dominance, etc. It's not like the production is popping or anything, it's just that the song seems to lack focus, when it comes to the mixing. The arrangement isn't bad, but it feels like it meanders a little bit before just saying 'fuck it' and fading out. Not sure if you can fix that in this mix, but having music that feels like it has a beginning, a center that drives to the end, and an end would give a remix a lot more direction. If you could do that with this mix that'd be awesome, but that's asking a bit much (especially since it doesn't take that much from the track, really), but it's something to consider for future tracks. Mario coin sound? Wtf, but awesome That's about it. While it's understandable to forego the arrangement issues I'm personally having, the mixing would be something that would be nice to fix. Good luck with the panel, when you sub this.

12:00PM, not AM. I'm banking on that too, bro

Not gonna lie, it got a solid chuckle from me.

Since no one else is updating this... The Uncalley Valley This is where I come in pretentiously and say 'Yeah, I saw that BEFORE EC was popular!'. It's been re-skinned by Alison, though, and the content is fine to revisit as a refresher, so it's worth watching again.

Confirmed on my comp - getting the same signal. I'm using Chrome, as well.

Mmm... Yeah, I'm looking too, actually. A thread showing people who are looking/people who are available might be a good idea. Alternatively, if everyone who's still looking for a place to stay comes out and says it all of us without-room-people could probably pitch in and get a room or two.

I'm giving it until tonight for him to get online. If no answer by then I'll take the track. EDIT: Just got word - I'm taking this round down, all.

Yarp, for realz. Can't hold a good source down. Experimental is right - definitely not like much that I've heard before. Obtuse said the things about muddiness that I wanted to say, so may as well not repeat that here. The swelling on the bass saw is distracting, when it's used as consistently as it is. A swell for the first note of a phrase then no swell (by adjusting the attack value) would be ideal - get your effect without distracting the listener. Aside from that, though, there's the arrangement. If you're shooting for OCR, there is a delicate balance to be made between conservative and liberal, which this track takes it a bit too far on the liberal side. That bass texture may be from the source, but if that's all that holds it to Ice Cap until the end I don't think that would be accepted on here. I like the samples, but that's because I'm a sucker for them. Most people would probably say rely on them less. Personally, I say use them, but be sure to have some rhyme and reason to them. I think I heard what you were going for ('You're too Slow' - Tempo Change, Robotnik - Dubstep), and I commend you for it; that's clever. Using those sounds at other points where nothing happens, though (as well as using sounds that don't lead to anything) makes the effects less pronounced. The dubstep losses it's flavor when the LFO raises to a point where the wubs move too fast for too long. If you got wubs, play with them a bit more. It's great to experiment - often that's where you can learn the most about music. I hope you can learn a lot from this track.

Er... shouldn't you be saving that until after the round is finished? I will note that this sounds cool, however.

Numbers are scale degrees, when presented like that. It's a very useful way to present things, since one doesn't need to know the specific notes when explaining a track. It's alright, though - here are the specific notes that are in the source. - Ab - Db - Eb - E - - - Ab - Db - Eb - E - - Eb Db Eb - - - B - Gb - - - A - Db - Eb - E - - - A - Db - Eb - E - - Eb Db Eb - - - E - Gb... In general, your melodic notes are correct... but transposed to the wrong spot. If you take the entire line and move it so it matches the notes I placed here, it'll work just fine.