Gario

I'm very late on the ball, here (Woa, 4 months ago?), but I'll echo the comments on the Castlevania track - too repetitive & short. HOWEVER, that's really only a problem if you wanted this to be submitted on OCR. The music being static, though, is a universal problem - the textures need to change up a little bit, there, even if it is a faithful recreation of the original. People don't like listening to the same soundscapes for too long, since it wears on the ears. That being said, I frankly loved it, overall - the instruments were clean and the original track was amazing enough to where it didn't matter if you didn't ReMix is. Now if you could rearrange it it would be amazing.

Can't say much more than has already been said. Loved the intro effects, though - great to hear variety in a metal track (nothing wrong with solid 'in-your-face' metal, but it's always nice to hear metal with some creative liberty, as well). I'm sure we'll see this on the front page soon enough.

I hate time signatures, so my favorites are when they're nominally used. Straviniiiiiiinsky. And this explains Favorites threads in detail.

Adamantium Dude said it quite well - it's not the notes themselves that determine a true church mode, but how you use them. Functionality is truly a separating issue when it comes to writing real modal music. What it'll sound like otherwise is music that's in the key of 'E' (or wherever the major/minor tonic is) but keeps returning to the wrong place (I just got some music from Battletoads up here - it's in C Minor but spends the majority of it's time on the AbM triad, even to the point that it starts + ends on the AbM triad, in the source... It's not in Ab lydian, despite the fact it hangs out there more than it does on C). Interesting fact (one you probably know informally, via 'It's all the white notes rearranged', if you look at a keyboard, but here it is formalized) - every single scale, every single mode is derived from a single Forte pitch class 7-35 (013568A). Thus, unless you're going to incorporate syntax or grammar into the scale, all of them are technically going to sound the same, since they all derive from the same set. Functionality in tonal/modal music is everything, when it comes to distinguishing one key/mode from another (the breakdown of modal, then tonal music occurred because people broke away from the rules that followed... from Palestrina to Schoenberg it's observable that the functionality between keys is broken down and eventually gave way to Classical tonality, Romantic tonality from early to late Romanticism, eventually leading to Schoenberg pantonality - it's quite interesting... Webern's 'Path to New Music' discusses that in detail, I highly recommend it). A wordy way of saying what other people on here are trying to clarify, but I hope this helps. That... is quotable material, right there, lol.

Hmm... can't say for sure about inharmonicity (or enharmonicity?) - I don't know about that tidbit (something new I gotta look up and learn about, I guess). The fact about the triangle was me parroting what I've heard from a couple of teachers + in a few lectures, but the basics of it was that the triangle (and, for that matter, basically any other vibrating shape that isn't a straight line, such as a spoon and a snare) resonate in such a way that they do not create nor tune to the classic overtone series, but other unique series instead. The triangle's partials are not the octave, fifth, fourth, third, etc., but something like tritone, third, etc. (I don't remember what the series was, exactly - those names are made up - but it was something tonal that you could hear, if you listened for it). There's a song I heard performed where someone beats on a triangle for 15 minutes. Amazing sound to it - when you listen to it long enough, your brain separates the partials into all of it's parts, ignoring the root sound, then the first partial, then the second, etc., so if you have a triangle + the time (and know how to use it) give it a couple of whacks for some time and listen to what notes are produced. It's quite interesting what you get. Now I'm eagerly awaiting the Mario Schenkerian analysis from you . Don't disappoint in reducing Mario to the Three Blind Mice .

Don't worry, I third the complaint on the drums (especially the snare). For the most part, though, I'm going to try to fix it in through mixing/mastering and simply bring it to the foreground (and probably change the snare, altogether), so when Level 99 sets the guitar I'll fix the drums in one fell swoop. Yeah, that game doesn't have nearly enough mixes on here - I ran through it recently to find that every song on the game is really incredible. Even crossed my mind to just get an album of it done real quick (if this site doesn't have enough albums being worked on, lol), but I don't have the time to do that sort of thing, on my own.

Mucho Gracias, lv99! You'll only owe me your SOUL, after this track . When the guitar part comes in and I get time to do the mixing/mastering I'll get back to you all (moving this weekend, so it'll take me a little time to clear that up then mix it). Thanks lv99 - it's gonna be epic .

Hey all! Got a fresh mix for you all, from... well, the title says it well enough. Rocket Slam (OLD) Rocket Slam (FINAL) You may notice that there's a shitty synth guitar in there, ruining the music. Thus, I need a volunteer to lay down a guitar track for me. I know you guys are out there - y'all make great guitar music on this site all the time. Just a couple of things, for anyone willing to take me up on it... The tempo is 180mm throughout, in the key of Dd (there's a lot of focus in A, as well). Don't worry about the track I laid out - it's there to fill the space so it's easier to mix in the guitars. Some of the track is representative to the source, though (0:33 - 0:44, 1:04 - 1:25, 1:45 - 1:55), so if you vary those track, keep it at a minimum, there. Otherwise, go nuts and have fun with it. 2:18 doesn't have a guitar track down there. That's because I'm looking for a solo to really give that last section some flavor, and I wouldn't dream of trying to make something up there with my shitty guitar sound. Here are some files that may help, if you're interested. No Guitar Guitar Only (*shudder*) Otherwise, feel free to comment/critique... just keep in mind that I can't get the final mixing/mastering done until I have a guitar to lay down on top. Thanks! EDIT: Cripes! Forgot the !EDIT2: No more shitty synth guitar - Level 99 took care of that, and now it rocks.

Hmm... it's damn tempting to go pick it up, for sure. Interesting that it's the only Megaman series that has a definitive end to it (unless MMX8 really ends that series, but I haven't played that one so I can't say), thus it should only have one collection to get excited over (Yeah, Megaman Collection WILL come out again with an 'update' that includes MM9, 10, 11... mark my words).

Hell... yes. Please do. And musicology would be awesome, too, especially since that was an area that my school was woefully lacking in. Oh, I really have no 'problems' with your use of Phrygian (people do that sort of thing all the time, so it's expected). I just wanted to take the opportunity to explain that in a truly modal song the notes are not the only thing that you change, if you wanted to truly write in a different 'mode'.And no, composers in the Romantic era adhered religiously to the rules of Counterpoint (which is not the same thing as harmony, and is the doctrine that I'm discussing now). In modern times it changed, but even then there has been some 'direction' (and a lot of 'Don'ts' that everyone follows, when it comes to realizing that direction), so don't fall under the illusion that composers after the Classical era just did whatever they wanted (that's what they WANTED you to believe ). Go to that link. Start something up - I'm always game to discuss theory on here, so at least one person (and probably more) would discuss it with you. The discussions in the thread rarely became debates, per se, but things popped up periodically that could interest you, in there, so take a look. Theory is interesting in that it's a subject that two people can have two completely different opinions and both be absolutely correct (Moseph and my own opinion expressed at the end of the linked thread on Zelda is a great example of two people having different yet no less correct opinions on a track, I believe), since it's the study of expressing what one hears in the music. That's not to say there are no wrong answers, but it's quite an interesting subject that can result in opening one's ears, if discussed.

I've been waiting for a metal remix of that source for years, Brandon. I know you won't disappoint.

Mmm... Rama loves me . Can't wait to see who got mine (It's a rehash from last year, but no one got it last time so it's all good).

I think his wife totally had the hots for him. That's just a guess, though. To be honest, this is probably the only movie I watched last year that I really enjoyed.

I can't say for sure (since I'm not on that project), but look at the tune and ask yourself if it isn't simply primary mixture goin' on. Just because the sixth of a scale is raised from time to time doesn't quite mean it's Dorian - that mode has a different function as well as a different scale degree. If it really is Dorian, though, I can't wait to hear it . hey HEY! That's what this thread was for! No one ever argued theory in there except me, though, so it died down . Someone necro that thread's ass and we'll all discuss some theory maaaagic... ... please? Alrighty, I'm listening to SLyGeN's tracks now... The Vermilion City track, I'm afraid, expresses a common misconception of the use of modes. If you simply switch around the scale degrees to match the 'mode' you're playing in, the music will sound forced and unnatural, since it'll sound like a Major/Minor scale with incorrect notes (and, for that matter, in order to cadence the scale & balance the track it will revert to Major/Minor mode). In order to properly function in a mode every changed note needs to have a complete change in functionality, as well - lowered second in Phrygian, for example, really functions in the exact same way as the raised 7th in Major/Minor and the 7th never moves (it always remains flat). That's the primary change that gives Phrygian it's distinct flavor, which people never apply when using that scale. Functionality changes in modal music. Of course, it is interesting to listen to, nonetheless, so don't worry about it much - just be aware that it's a bit of a misunderstanding about modes that is extremely common. The more you know, the better, right? I'm liking the Minor Cerulean track. It fits the track quite well. Just... be careful with some of the background notes - one of the chromatic runs are sour, and there are a couple of spots in the beginning where the old key sneaks in there in the harmonies. Ditto with the Celadon track (minus the errors - the track has no sour notes). Lovely stuff .

Oh, I got it. Thanks for the clarification. I'll take the track given. It'll be tough, but that's why it's a CHALLENGE, people. Let's see what I can do with it, now..

Awesome fact about Octatonic scale - if you take out any fully diminished 7th from the chromatic scale the remaining notes form a perfect octatonic scale. Back on topic.

The tone geometries looks suspiciously familiar... Not the same thing, I know (one uses pantonal transformations on tonal networks, while the other uses it's own system), but it's very similar. Looking at the deriving article, it's funny that I actually know one of the writers (Ian Quinn) - he currently resides in Albuquerque as a music director. Interesting; I'll read that article as soon as I can.

Hmm... people are getting their tracks already? I haven't heard from mine, yet, so here's hoping my entry as a mixer didn't get mixed up in the process, any. I'm sure you guys have everything under control and all, but I'm a natural worrier...

Sorry for the short update. I wasn't planning on sending that out (since it was so short), but I wanted to send SOMETHING for your birthday, lol. It also allows other people on the project to see the WIP and give me some more direction on it, now, since you were the only user privy to the first WIP. I'm working on getting the next update (complete 3 - 3 1/2 minute structure + rough mix) in before the next deadline, so here's looking forward to that (I really would have been done by now, but my computer completely fried last week + am attending my brother's wedding atm, so I've been tied up). See you in a little bit with a more acceptable update

Yeah, this one is good Great overall sound to it. I'm hoping a couple more of the remixes flood onto here soon, too - there were a few really good ones there (this one included). Wish I could submit mine on here, but... well, when people get the album they'll understand .

Birthdays are for the WEAK. Bring on the projects! And may this one be a happy one for you .

Thanks for the deadline, Willrock. I shouldn't have a problem with that, at all (I mean damn, I started that track last July, you'd think I could get it done over a year after I started it ).

Here's a remix of the first stage being tossed around in the WIP forum. http://ocremix.org/forums/showthread.php?t=29076&highlight=contra As for what you listed... not sure if I've heard a remix of those tracks, yet. Hope this link helps satisfy some of that Contra Hardcore love that you want.

You want a midi track of 'if you still believe'? I can probably do that (been doing midi rewrites of that sort of thing for... over 10 years), but my computer completely fried, atm, so it'll need to wait until I'm back up and running.

Do you have to go to school? Nope, Snappleman has the right idea - look into it yourself, look up information on your own, etc., and it'll take you in the right direction. However, if you take a 'Do it yourself' approach, you need to be as meticulous as humanly possible and not let a single detail escape you. I went to school for composition (woot), but studied deep Counterpoint theory on my own (clep'd out of the classes that taught it, which was screwing me up so I needed to study it on my own) so this is coming from experience, here. The thing that school provides is primarily a third party that will correct your path if you develop some strange ideas on music that really... don't work. If you're screwing up the sonic sound of a song by adding too much, for example, having a teacher there to tell you that it needs to be changed helps a whole lot. Of course, if you have someone else to tell you of the problems (OCR, baby!), or are an excellent self-critic then that primary benefit isn't all that great. The secondary benefit is that school will give you direction as to what leads to what and why (For example, you learn harmony, which leads to counterpoint, which leads to Schenkerian theory... but that isn't apparent if no one tells you that). You can look these things up, sure, but sometimes it helps to know what you're looking up, which school can help define. The final benefit that you miss out on in school is the opportunity to work with people and hear your music performed. It is very difficult to get around this if you don't go to school, but it's obviously possible (I mean, soundtracks for movies wouldn't exist, if it was impossible to get people to perform your music outside of school). So, with that information in mind, you can make a decision whether school is worth it or not. You can do everything I listed without school, but school makes the process so much easier.