Gario

I'm working on finishing the last track, then I'll be trying to send it back to staff.

I am working on this pretty actively, atm, so I'm hoping I'm able to get this out soon. Looking forward to providing the update when I get this back to staff.

I'm working on finishing the last track, then I'll be trying to send it back to staff.

I am working on this pretty actively, atm, so I'm hoping I'm able to get this out soon. Looking forward to providing the update when I get this back to staff.

I'm working on finishing the last track, then I'll be trying to send it back to staff.

I am working on this pretty actively, atm, so I'm hoping I'm able to get this out soon. Looking forward to providing the update when I get this back to staff.

I'm working on finishing the last track, then I'll be trying to send it back to staff.

I am working on this pretty actively, atm, so I'm hoping I'm able to get this out soon. Looking forward to providing the update when I get this back to staff.

Still really looking forward to this - I check every month!

Any updates?

Post your Discord in this thread or add me (texturology#8079)! I love talking to new/old friends in a chatroom environment and have a good time \o/
I'm texturology, previously known as "Txai" if you're familiar.

Hmm, I'll need to play the game first and really get a feel for it. I like the genre choices, tho; I can do symphonic electro epic.

Since I own the game, I'll give you a heads up sometime later, when I finish it, lol.

*hug*

If you're looking to learn how to write independent lines that compliment an existing lead, there's an entire compositional art dedicated to just that called "Counterpoint". You can read "Fux Gradus Ad Parnassum" for a fairly complete presentation on how to do counterpoint, but for the short-short version:
Four types of motion (aka two notes moving at the same time) are used to create independence between lines, from "most" independent to "least":
Counter Motion (notes move in opposite direction)
Oblique Motion (one note moves while the other stands still)
Similar Motion (notes move in the same direction but by different amounts)
Parallel Motion (notes move in the same direction and by the same amount)
All of this motion can (and should) be used, but be careful when moving in parallel motion to not move in parallel unison (the notes will sound like the same note, losing the independence), parallel octaves (same issue as moving in unison - you lose the voice), and parallel fifths (fifths discourage motion in music, moving in parallel makes the lines sound disjointed). Furthermore, do not move in similar motion into an octave, unison, or fifth. Oblique motion shouldn't lead into a dissonance, but it can lead out of one. Overall chord intervals shouldn't be dissonant, so don't lead into dissonance between your two notes, but decorative notes (like passing or neighbor tones) can be dissonant without too much issue.
Aside from that, go nuts, the world is your oyster and all that jazz. This is a primer on traditional counterpoint, which kinda ignores some modern music (dissonance is generally more accepted nowadays, for example), but it should act as a nice guideline if you're having trouble making independent lines in your music in the first place.
This has been a crash course on basic voice leading and counterpoint from yours truly. Hope it helps.

Hmm, I'll need to play the game first and really get a feel for it. I like the genre choices, tho; I can do symphonic electro epic.

Since I own the game, I'll give you a heads up sometime later, when I finish it, lol.

If you're looking to learn how to write independent lines that compliment an existing lead, there's an entire compositional art dedicated to just that called "Counterpoint". You can read "Fux Gradus Ad Parnassum" for a fairly complete presentation on how to do counterpoint, but for the short-short version:
Four types of motion (aka two notes moving at the same time) are used to create independence between lines, from "most" independent to "least":
Counter Motion (notes move in opposite direction)
Oblique Motion (one note moves while the other stands still)
Similar Motion (notes move in the same direction but by different amounts)
Parallel Motion (notes move in the same direction and by the same amount)
All of this motion can (and should) be used, but be careful when moving in parallel motion to not move in parallel unison (the notes will sound like the same note, losing the independence), parallel octaves (same issue as moving in unison - you lose the voice), and parallel fifths (fifths discourage motion in music, moving in parallel makes the lines sound disjointed). Furthermore, do not move in similar motion into an octave, unison, or fifth. Oblique motion shouldn't lead into a dissonance, but it can lead out of one. Overall chord intervals shouldn't be dissonant, so don't lead into dissonance between your two notes, but decorative notes (like passing or neighbor tones) can be dissonant without too much issue.
Aside from that, go nuts, the world is your oyster and all that jazz. This is a primer on traditional counterpoint, which kinda ignores some modern music (dissonance is generally more accepted nowadays, for example), but it should act as a nice guideline if you're having trouble making independent lines in your music in the first place.
This has been a crash course on basic voice leading and counterpoint from yours truly. Hope it helps.

Hello OCR Forum goers!
 
A bit of an update, recording is done, artwork is done, we are currently mixing/mastering. Expect a launch by late summer/early fall!

this guy knows what's up
the candy corn series of EPs are also excellent, in my humble opinion

Heh, and I thought I was the only one who did this to tracks from time to time (I just use Audacity when doing this with other people's music, personally).

TBH it's pretty cool to do this to your own collection, sprucing it up for personal use, but do remember that while OCR distributes the music with a non-exclusive license to do so, we technically don't have the right to go put out "updated" versions of other people's music without their permission (nor does anyone else, for that matter, since it's still their music), so I would say unless you can manage to get people's permission for putting out remastered versions of their music it's probably a no-go in general, as far as distributing remasters go. That's not to say you can't do it on your own - it's sometimes really fun to have a personal copy at home of a remastered version - it's just not something that you should distribute on a wide scale without talking to the artists first.

COMING SOON, a new OC ReMix community album! Jet Force Gemini: Mizar Attacks!
• TRAILER! https://youtube.com/watch?v=-nhmggRxDVU
• https://twitter.com/ocremix/status/1401990131242999818
• https://www.facebook.com/ocremix/posts/346591153506430

vaguepost updates are the best updates :3

Thanks for the feedback, Gario. The visualizer was created with software called Plane9. It's a standalone software that plays different kind of visuals when you play audio files from other software, like VLC player for example. The way I use the visuals from Plane9 is by capturing the session with OBS Studio and then doing the edits in Vegas Movie Studio. You can get quite creative with simple patterns if you know basic principles in video editing :).

Here is link to their website: https://www.plane9.com/
Feel free to ask if something comes up in mind!

Oh, well then that means I might have an excuse to remix Man with the Machine Gun again, which I've been enjoying as a track recently in a playthrough of FF8.

Couldn't think of someone better to take hold of this project, tbh, so I look forward to seeing what you have in store for this.

Hey everyone!
Director of Arcadia Legends and the soon-to-be-released album for Jet Force Gemini: Mizar Attacks here!
 
I've been approached to potentially take over direction of this album, possibly co-directed with another. However, nothing is set in stone at all and I'm looking to see what all has been done, what is left to go, what the full scope of the project is and most importantly: Is there still interest for all involved currently and in the past to continue with this album to completion? I'm proceeding forward with Mizar Attacks album release and potential physical edition negotiations, but after that, I can turn my attention to this album - but I'm sending out feelers, if you will, to see if this is feasible to pick up and finish. Let me know!

Hello! Long time fan, first time forum poster. Been listening and downloading a lot more remixes from here lately, so I have figured to make an account to properly thank the artists! I have had an amazing experience so far throughout the years and I'm glad to see OCRemix staying strong.

Holy shit, you're getting a live performance of this? That's fantastic!

Y'all, if you haven't listened to this one before, go check it out, it's a *fantastic* arrangement. It's about an hour long, but hot damn if it isn't a *great* hour of your life.

Hi Gario! Thanks for taking the time to listen to my track, I’m glad you liked it!
Yes, the goal is to submit it to OCR. Thanks for the suggestion, here are the timestamps.
 
Links to source songs, I will refer to these names in the timestamps:
Underworld Theme Part 1: 0:00-0:04
Underworld Theme Part 2: 0:04-0:10
Success
Bonus Start
Failure
 
0:00-0:17
Intro
0:00-0:02
Reverse lead and cymbal with sound effect from bonus game slot machine.
0:02-0:17
“Underworld Theme Part 1” both bass and lead.
0:17-0:47
Bass Section 1
0:17-0:32
“Underworld Theme Part 1 Bass”.
0:32-0:47
“Underworld Theme Part 1 Bass”, with some variation.
0:47-0:55
Break 1
0:47-0:55
“Underworld Theme Part 2 Lead”.
0:55-1:26
Bass Section 2
0:55-1:26
Here the bass plays a variation of the “Underworld Theme Part 1 Lead”. Also the drums from the “Underworld Theme” starts here.
1:08-1:10
“Success”
1:23-1:26
“Success”
1:26-1:56
Build Up 1
1:26-1:41
“Underworld Theme Part 2 Lead”.
1:41-1:56
This tropical sounding instrument plays a faster variant of “Underworld Theme Part 2 Lead”.
1:56-2:34
Main Section 1
1:56-2:34
Same as above but with more instruments and percussion.
2:34-3:20
Break 2
2:34-2:49
Original bassline inspired by the source.
2:49-3:04
Strings play chords that I came up with that sounded nice togheter with “Underworld Theme Part 2 Lead”. An Arp plays a variation of these chords.
3:04-3:20
Pad plays a variation of “Underworld Theme Part 2 Lead”. Piano plays a counter-melody.
3:20-3:34
Build Up 2
3:20-3:34
Pad now plays chords that I came up with that sounded nice togheter with “Underworld Theme Part 2 Lead”.
3:34-4:12
Main Section 2
3:34-4:04
Mostly the same as “Main Section 1” except now it uses elements from “Break 2” and “Build Up 2”.
4:04-4:12
Here I added some new chords, I thought they sounded familiar… turns out they sounds like the "Course Clear Fanfare" from Super Mario Bros. 1.
4:12-4:26
Slowdown
4:12-4:26
Mostly the same as “Bass Section 1”.
4:26-5:16
Outro
4:26-5:04
Piano and Flute plays variations of “Underworld Theme Part 2 Lead”.
5:04-5:16
“Bonus Start” and “Failure” theme morphing into a part of the “Overworld Theme” from Super Mario Bros. 1.

Thank you for the evaluation!
I definitely struggled with setting apart the second iteration of the main theme from the first one. To visualize the structure to make it more explainable, the parts are
Intro, A1, A2, B1 (brass) , C (tremolos), A3, A4, B2
The intensity is currently A1 < A2 = A3 < A4, in fact the only major change between A2 and A3 is swapping the melody support from second to first violins and the tacit on second violins. This is mainly to set A3 apart from A1, and back then I couldn't easily think of more what I could have done. Your comment about subtractive arranging is spot on though. I could have removed the irish flute from A3 and A4 completely and replaced it with alternate instruments; for example have woodwinds do the melody in A3 with the strings supporting and swap that around for A4 (I really like the current sound of the doubled melody across the violins and violas). The irish flute could then come back in for the finale in B2. I might toy around with that before submitting, which I definitely will do
And I will have to come up with a name for the song, oh dear...

Well... it's 13 years later but, I think it's worth a bump... somehow this thread through a series of chain reactions ended up getting the song to be briefly featured in a summoning salt video at exactly 13:37 timestamp: