Gario

Look at the date - standards have changed since 2002. It's actually not the note-by-note thing that bothers me, either; it's the structure that you've got, there. Oh, I wasn't aware of that remix, either - the whole 'rockman' vs 'megaman' naming thing throws me off a bit followed by this... ...should hopefully make it clear what I'm talking about. The song's only two minutes atm, so adding something fresh here (e.g. not the source repetition, something of your own that is based on the source) will help this piece dramatically. Hope this helps clear up what I'm saying

... By the way, GLL, what the hell do you expect us to do with a 20 second source!? I like the challenge, though . I'm gettting something pretty good out of it, so no worries, I guess (what can I say, I'm resourceful like that...)

This has got to be the best constructive comment I've ever received on my work, ever. lol, well, I'll let my brother know that his constructive comment is appreciated.

Hey, your the reason I even downloaded the game... [Just got into it] = [when I got involved with the Holonic project] Agreed. I've already played through it a whole bunch of times (got all the pics, done 'immortal' and 'no kill' runs, etc.). It's just that hard to put down. By the way, the new soundtrack is alright. It's better for the 'pacifist' path in the game rather than the 'kill everything' path, though (although I really like the boss music for that version - it's at least on par with the original version that was incredible in it's own right).

Neither have I... bwahaha. The intro is shorter, thank you for doing that for us. It gets us into the meat of the material a bit quicker. Now, I'll add that the last two repetitions of the source really have no variation a all, so it makes me bored. Cut instruments, add textures or simply change a few notes around in the other two repetitions. I still don't hear enough source in there, though in general (although coming back to the source at 3:19 helped a lot). You don't use the melodic material from the second section - try introducing that in there in some places. Better. Still not enough source, and still a bit too much repetition, but a lot better than before.

haHA! I'm glad you caught that (actually, ever since the mid-16th century, to be precise) - but look at what you wanted. You needed a beefier line, not two individual voices.Here, this is a tiny snippit from the tut I'm writing that goes over this very detail (a very tiny snippit, by the way)... I'm actually not talking in strict counterpoint terms, here; octaves will beef out the line better than a fifth because the fifth naturally introduces notes outside of the key area (which makes for some wrong notage, there). I'd use a combination of different instruments if you want to beef it at the unison, though - otherwise you won't really get a change in sound that couldn't be achieved with the mixer settings.Don't get me wrong - parallel fifths have their uses, but those used here make the music sound worse; octaves and unisons sound betterm there. Don't worry, it isn't a failure (otherwise I would've said 'Better luck next mix'... lol); it has potential, and I want to see it fulfilled . Good point... Actually, I'd do what I did in school and take every single theory and composition course offered in your school and sift through what you know applies to what you want and what doesn't. Hey, all I'd recommend is for you to read my counterpoint thing (when I get the damn thing finished; it's taking a shitload more time than I originally thought) - you'll find out in detail more of what I'm talking about, here. I'll work hard on it just for you, SLyGeN. Really? I thought you were pointing me out to the production quality... I didn't want to say anything, lol. Did you want feedback on some of that from a compositional view? I'd be more than happy to oblige, but I didn't know that's what you wanted, there.

I'm sorry to hear that... A few months ago I was on that same boat (missing power supply). Oh well, I trust the next update will be epic, so I'll be tuning in to this thread once again when you do!

If you want a single, powerful voice I'd recommend octaves or unisons instead (it'll be better using different instruments, though). I'm dead curious, though - what classes are you taking (or have taken) in music theory? I could help point you in a good direction (as in what classes to take, what to listen to and what not, etc.) if your interested... Ack, and please post the source!! EDIT: Oops, I didn't see it, thanks!

Alriiiiiight, I've got my new computer, I've got my sound station set up, I'm joining this round - there ain't nothin' you can do to stop me .

Post the source please - it'll help us critique it better. The first thing I notice is the counterpoint... I'll be frank, it really ruins the song, for me. Nothing moves smoothly - the frequent use of parallel fifths and such throughout make the song sound clunky as a whole. I'm writing a guide on counterpoint (probably won't be finished for another week or two) so I recommend keeping an eye out for that. If you want a piece of the guide that specifically refers to the glaring problem I'm refering to PM me - I'd be glad to help with it. I can't help pointing these things out - I'm a counterpoint stickler . Onto the production issues... Alright, the instrument choice is too homogeneous. Nothing sticks out to me as the melody or harmonies - it all sounds like a wall of sound, to me. Not knowing the source shouldn't affect my listening to this as a piece of music - the instrument choice is inherently flawed. This can be partly remedied through proper mixing, but again there isn't any work done to that area that fixes the problem above. Bring out the melodies by raising and lowering the volumes in the mixer - it'll really help clarify your ideas greatly. The piano is too artificial sounding. Either get a different instrument or play around with the dynamics. Tweeking the velocity should help the sound dramatically (although I don't know if the velocity is an option is Reaper - you'll need to go to someone else for that information). The mastering sounds... non-existent. Connect an equalizer to your mixer (if there isn't one there already) and bring up the bass a bit. The treble could use a lift, as well. Overall, not bad for a first piece, but certainly not close to OC standards (if you submit this it'll probably have the same outcome as my first piece - rejection without further evaluation for production issues and possibly for arrangement issues due to odd notes). That's what it's here for, right? I'm sure we can send you in the right direction, if your willing. I've actually been wondering what your music sounded like, as you've added some incitful information here in the past - now I know . Oh, and please post the source - it'll help us dramatically in critiquing .

Ack... that was cruel. Why isn't the whole thing there? I'd like to hear it in context, please . I'm gonna add that the J's will probably still attack you on the sample quality (the mixing is great, I'm talking about what samples you use, themselves). Of course, that's coming from me - my last remix used pure sounds that came with Reason 3.0... I can't help much for that - I'm more guilty of it than you are. Does anyone else believe that the samples are a bit cliche and low quality and have some suggestions on other samples to use for this song?

Is that a new copyright law or something? I've read that the copyright lifespan is 25 years, then it may be refreshed for another 25 years up to two more times total (meaning a maximum of 75 years of copyrights). I read this in a 2004 music business book, so it could very well have changed. Personally, that's one reason why I'm pissed off at Disney. They've dominated the entertainment market for quite some time, so did they really need to go around that copyright law for Mickey? They actually appealed for another 50 year extention for the copyrights on Mickey Mouse (past the 75 year limit). Really, do they need to bend the law just to continue to make money from that stupid mouse? I felt that the public domain took a turn for the worst when that happened - perhaps that's when the law changed to what AnSo is saying up there...

Gimmicky? Yes. Any less awesome? No. I loved both of those videos. Very creative, that's for sure. Thanks for the vids!

Umm... to quote Dane Cook here, that dolphin is a 'BAMF'. He's just itching to kick the shit out of underwater... stuff. I like the Japanese jelly thrown in there, though - keepin' it real for all of us. I'm sorry, but I've gotta say the American version of River City Ransom is way better than the Japanese version, there. It doesn't make up for the crap we did to poor Kirby, though .

Damnit, dPaladin, why did you bump this thread? You just allowed Nekofrog to ruin the FF7 song for yet another listener... namely me. I will agree that they both sound like Schubert's symphony, though. Now, who would win if they fought - Batman, Sephiroth or Schubert? That would be a simple way to settle who's song it really is.

Damnit, I wish I had a clever way to say 'Happy Birthday', but I guess I'm not as cool as everyone else. Happy Birthday McVaffe!

Okay, sometimes I really can't tell who's joking and who isn't - it IS a forum, after all... Thanks for clearing that up!

I wasn't suggesting anyone 'rip him off'. I was pointing out an example of a remix vs a straight arrangement. Rozo does quite well changing things up for that exact source, so I figured it was an excellent example to use. Sometimes it's best just to give an example and Rozo's song was perfect for that job. Besides, he IS an accepted OC remixer, even though that particular song hasn't gone through the judging process yet.

Hey now, you mean the early Proto stages? I was seriously thinking about doing those, too - you should let me know when you start it (either for the sake of competition or collaboration - either is good for me (; )I can't say it's my favorite MM soundtrack (MM3 holds that dubious honor for me), but it certainly deserves more attention than it's gotten, here.

Man... America is so angsty, doing that to Kirby. Seriously, does Kirby really look pissed off in the games? Come on, Kirby is more worried about filling his fat ass over the 'serious drama' that occurs in his games.

Most of your rules were great pieces of advice, except I am at a complete loss as to what this means... Could you clarify, please? I'm really curious, here...Oh, and for this... I'd recommend NOT just picking up a book on music theory and reading it... when you sing or listen to music listen for what specifically sounded good (and what didn't) and make a mental note of it. Try to replicate it in your DAW, afterwards. You'll learn so much more if you do this first before picking up a theory book... of course, after you've done that for a while pick up those damn theory books and find out what you've been listening to and realize why it works.I find that to be more helpful to composers than just reading up on a bunch of crap - listen critically (Of course, this is all a mood point if your a trained musician already, as you'll probably know all that stuff...). I'm also on Yoozer with the 'Getting away with it' bit. If people will pay you for your work, great! It's not an opportunity everyone can enjoy.

I'm not going to lie, that analysis of smirks was amazing. Thanks, Author; I wish I had your skillz and attitude (I'm sure your wearing that damn smirk right now ).

Don't forget to fear Nekofrog and his completely destructive monsters he creates under the guise of 'OHC Compositions'... It's mandatory.

I didn't get the kid's age on the other forum. If s/he is older than 18 then s/he has no excuse, whatsoever. Reality is a cruel son-of-a-bitch, and it should hit you full force at about 18. Oh well, what can I say, TheSnowStorm, your just a much nicer guy than I am. By the way, if it was an aspiring composer (like you implied in the topic) I wouldn't be so harsh, but seriously; what the person wants is a job as a video game performer, which isn't even remotely realistic, and it isn't composing. The person can play a few instruments, great - now they need to look for real performance jobs that can make him/her money. ... and what the hell is the gender; I hate writing s/he and him/her...

It meant that you needed to smirk, if you were cool. Obviously.