Gario

Shit, take some time off the interwebz and OCR and you miss something like THIS. Congratulations, dude!

Well said, Demonstray. Well said. Save states = the devil. And here's hoping I'll get some significant progress out for the next deadline during a move/re-evaluation of all my stuff.

To my knowledge, somewhere mid-July is the next deadline (or at least that's what Willrock & John have been throwing around, anyway). John isn't going to be online for about a month, though, so this thread won't reflect a deadline for a while. That's what I heard from Willrock and John, anyway - take it with a little salt, there. Hope that helps.

Made a request, signed up as a mixer. I was a little scared that you weren't going to do this again this year, Rama - last year the heads up was in the middle of February. 'Course, this will occur during a move and such, so I'll be a little disoriented, but I think I'll be able to get something out for you all again, this year (last year was friggin' awesome, especially since IRC miraculously worked for the listening party, for me). Yeah, I'm on board again, for this

Shit, I wish I saw those when they weren't merged. Happy birthday, you guitar monsters, you.

I is familiar with Geeky Stoner. I know about Scardism, but don't hang out in the threads he's involved with. Ah well, here's to another year of... whatever you people do. Happy birthday, you crazy people!

Sounds like a song about Schala and Chrono, to me. Hilarious find, there - always nice to know some rappers are oldskool videogame nerds... I doubt they'd dare give credit to a video game for the music (that would certainly take down their 'pimpin' status in life more than a hair...).

Now God doesn't only hate fags - he hates Dio, as well (the contradiction is hilarious, if you think about it). Oh, and according to a Westboro preacher that walked onto the UNM campus some time ago all musicians are going to hell, all women are hookers and the pope is the anti-christ (back with JP2). Love those guys - it's like reading the covers to the tabloids. 'Course, can't say I enjoyed the small riot he caused outside the music department (a few students got arrested, during that debacle), but that's the price to pay when one of those guys walk onto the scene. And damn, it's a real shame Dio had to go. I liked the solo stuff he was coming out with .

I like the sound of this one, overall. However, the bass is causing some nasty clipping, so fix that. The bass drum sound is a bit bland and muddy... try making it tighter. For the most part, the production is clipping in and out, so the mixing really needs to be cleaned up. I like the chippy direction you took it in the beginning and later in the song The electronic soundscape is really nice, but hard to really appreciate through the production, so fix that up and keep us updated

lol, we're on the same boat, dude - none of my submissions are past 04', since I don't have a program that satisfyingly writes midis, anymore. Personally, if we got a choice, I'd go with the lullaby. That's just me, though - it's your call. And grats for the official win from Doulifée.

Aaaaaaand... this round goes to Analoq! Nice work with it, dude - didn't expect to win over your track this time around, anyhow. Surprised there weren't any comments on the cheezy Kuwanger reference in mine, lol. Here's looking forward to ORC 131 (and here's to me remembering to update my damn signature this time ).

Yes, because western instruments were used because they followed the traditional overtone series. The chicken and the egg - were the instruments chosen because of the series, or was the series developed because of the instruments? I'd like to think that in the beginning the instruments dictated the series, but later the series determined what instruments were acceptable. And generally, the columns of air are being vibrated by a reed (woodwinds) or the vibrating of the lips (brass), so it isn't the air itself that produces the series, but the objects applied to them (except the flute, of course). Um... no I didn't. I never claimed that the overtone series wasn't a good basis of harmony. I claimed that it isn't a mysterious thing that magically creates 'good' music, and used ethnomusicology as an example of music that used other unrelated systems altogether. I further pointed out that most other cultures in the world don't use polyphonic music, so talking about 'harmony' as if it were natural is actually nonsensical, in a sense. Talking about two different things, there. Mmm... yes and no, depending on what you mean by it. If you mean the sonic waves matching perfectly then yeah, it's objective. If you mean the traditional use of the term (referring to equal tone Octaves, 5ths, 4ths, 6ths and 3rds) it's very subjective, since they are all technically horribly dissonant, according to the objective definition of 'consonant' (it was a salient complaint in the late Baroque and throughout the entire Classical period against Equal-temperament, which was only used from 1850 on). We've just gotten so used to them that we don't notice anymore. You're absolutely right - this was all a side note because people brought up some real theory (which is very rare, in this forum). I added my opinion of the generator after my theory fluff, to try to keep it on topic as best I could. Sorry about the deviation - I'll stop, after this post. One word - Partch. Look him up (his stuff is awesome, by the way). Terribly sorry about the deviation... I can't help myself when theory is involved. I think the chord generator is cool, really. It also is just as 'musical' as anything else anyone can produce, since it simply generates the chords - it doesn't take away that person's choice to use those chords or not. That's my opinion on the generator.

Mmm... music theory. Strange thing about the overtone series is that the only thing that generates it is the vibrations from a straight line (like a string). Most other objects make unique harmonics and overtones (a triangle, for example, divides into tritones, for it's series). So in reality one can't really rely on the overtone series as the real 'reason' harmonies sound 'good'. It actually boils down to what people are used to hearing. Familiarity creates networks in the brain that simulate pleasure, so people enjoy what they are used to (namely, tonality and the overtone series). The only reason that we are so familiar with the harmonic series is because the church emphasized it's importance and perfection and developed a polyphonic system around it that the western world was forced to use (thanks, Charlemagne). Thus, we've been forced to listen to contrapuntal tonality for millenia. Listen to something enough and you'll enjoy it, strangely enough. Really, there's only a relationship between harmony and melody because people have done it for so many years (and continue to emphasize tonal music through any person's life) that you just develop a taste for it.Study a little ethnomusicology and realize that most other cultures don't use harmony at all (the western world, in fact, is quite unique in our polyphonic music). There, that's overcomplicating the issue. As for the chord generator, I see no reason not to use it. Sure, it creates them using simple patterns and syntax, but in the end the person is choosing to stick with the harmonies or to regenerate them so it's still 'composition', in the end. It just takes out the actual generation of the harmonies, is all. Not really impressed with it, though - give me a generator that create Neo-reimannian networks and I'll show you some real impressive music coming from the generators . It's probably be easier to get a computer to generate than tonal patterns, anyway.

Always a good idea to let people know their stuff is getting used and trying to give appropriate credit for it. Never know what might happen otherwise... Good luck on your RPG (too large for me to DL, atm, so no comments from me, I'm afraid). And this is the most colorful thread I've seen in some time.

Totally forgot about this week's compo. I've gotten so used to not being able to do them that I'm not used to the schedule, anymore. However, I'm pretty much going to try to be in as many as possible, now that I can

Haaaappy birthda... wait, what's that? A WHIP? NO, I'LL GET THE WIP, JUST GIMME MORE TIIIIIME!! Actually, I'll send something over to the forums, as a birthday gift, so happy birthday.

lol, reading through this thread, yeah - it's indeed a well masked favorites thread. Well enough masked to continue on without a problem.

Haaaaaappy birthdaaaaaaay!

Very, very true. Then again, after the first runthrough of every old game I couldn't ever pick them up again, so it's probably just me. And Deus Ex never really was about the looks, so it looks as bad today as it did back in the day.

Mario 64 actually had a really good framerate, so despite the graphical issues it probably will stay great til the end of videogames (aka the END OF TIME). I have to agree that games that rely on 3d graphics WILL age far worse than games that rely on 2d graphics, simply because while 3d games continue to progress and get better with time, 2d games were pretty much perfected graphics-wise in 1996 (yeah, later systems got a little better, but really - they haven't gotten too much better since Playstation). Thus, the classics of the past really don't look any worse than the newer 2d games. Also, old gameplay generally will not age well, but they remain fun for those that grew up with them.

It's not bad information, though. It's also geared towards a unified sounding track, so it also would help the medleys get accepted on OCR, too (OCR just doesn't want a stream of songs slapped together as one track, to my understanding).

Cripes, the date was extended?! I was workin' towards the May 20th deadline, too... Guess it's time to throw it back in the 'Procrastinate until the final possible moment' closet. nah, I'll try to get an update in a few days, don't worry.

Don't worry - you've got you're daily neighborhood music theorist, to do the work for you! Alrighty, instead of analyzing every single change, let's say that every quick chord change is a simple neighbor tone combination (for example, 0:06-0:08 would have a lower neighbor, not actually have a chord change). I-bVII7-bVI-I <-- The flat chords use a technique called 'Primary Mixture', meaning they take chords from the parallel minor and use them. It's a cool technique. I-bVII7-bVI-V64-53 I-bVII-bVI-I-V-I-bIII-V-I I-bVII-bVI-I-bIII-V-I i-VI-iv-V <-- Oh, he modulated to minor, for a sweet little section, there. Tasty. i-VI-iv-V I-bVII7-bVII-I (-bVii7-bVII-V64-53 I-bVII-VI-V64-53 I-bIII-V-I I-bVII-VI-V64-53 I-bIII-V-I i-VI-iv-V i-VI-iv-V I-VII7-bVII-I I-bVII7-VII-I I-bVII-bVI-V64-53 I-bIII-V-I I-i-I-i...-V-I I think that's the basics of it... Personally I'd reduce a whole lot of that to neighboring motions, but a lot of people don't like it when I do that . Personally, this is one of the most interesting mixes on ORC that I've seen, and I had a bunch of fun mixing it. Also, I think you have an affinity with Mixture, J64H.

No problem - I'll vote too and give some comments. I had the whole damn thing analyzed, Hewhoisiam, but the damn system ate my message. I might do it again in a bit for you .

*hand flies toward the Submit button* Holy crap, that was a fast song, there. Sorry for the brevity, but I was under quite a time constraint. At least it isn't a single song compo, this time 'round! I hate single song compos . J64H is a cool guy so I wouldn't want him to get stuck with one of those. Alrighty, have fun voting, folks!