Nabeel Ansari

You could get that sound very easily combining Drums of War and Juggernaut.

That's the important part. And like it's been said, that was 8 years ago, I'm not sure if the same things happen now.

Winter can just fuck off.

You're missing the point. Having the disability to hear a verbatim melodic line simply change its diatonic scale is incredibly ridiculous grounds for a rejection. That's very clear, even non-creative source usage (because of how easy it is to transpose something for anyone who understands the circle of fifths, a music theory I concept) in the broader world of arranging out there. Now, I think there were more reasons to reject prophetik's mix than just that one. But that being just one of them is enough to raise some eyebrows.

I agree 100% with you Brad, but I think it can be forgiven, because unless your ear is trained, the art of harmony and reharmonization in general is basically black magic. Classical training isn't a qualification of becoming a judge, and since not a lot of arrangers on this site push the boundaries with harmonic interpretation (just because they're VGM fans and most arrangers typically retain the feel or harmony of the source tunes, this is just something I've noticed from mixes I listen to, posted and in WiP forums), the judges probably weren't used to getting their ears tested in that manner, at least back then 8 years ago. Not all judges are/were as harmonically inclined as each other (or rather, I should say that some of them are more than others), so in theory it would be a problem solved by them being a panel that comes to a consensus instead of a singular, potentially flawed opinion dominating, but I haven't looked at enough examples of theory-tricks causing rejections to make a definitive statement on whether it works out or not.

You can't really "figure out" how to defy physics and engineering. If there's only one audio out, there's only one audio out.

I've now been steadily hovering from 80-100 grams of protein a day. (I weigh 130.6, so that's anywhere from .61g / lb to .76g / lb) Going to be buying some greek yogurt when I get more food money from the parents, then I can make my calories more efficient (instead of what I'm doing right now, which is eating cookies when I'm below TDEE). I have to say, after getting through that "COUNTING CALORIES IS SO TEDIOUS AND ANNOYING" hurdle, I've noticed that just sheer memorization has allowed me to just passively judge what I can eat without rushing to a calculator and figuring shit out for every single food item I ingest. In other words, it was really hard getting here, but now that I'm in, it's pretty easy. Feels good, too. I get to eat tasty things and not feel bad about them! Also my body is slowly but surely shaping up from "chubby skinny" to "defined skinny". Gonna hit the gym tomorrow.

This is how all DAW's work (except Reason, because Propellerhead likes to be special). They're recording systems designed to replace the mixing console board you'd find in a studio. When you record in a DAW, it's the modern digital equivalent of recording a band into tape reels. The point is that you're recording into files on a hard drive instead of magnetic flux on a tape. As for why put the files outside of the project file instead of inside... well, from a software design perspective, putting audio inside your project file makes absolutely no sense. The project file is just a list of settings, names, automation data, etc. it's the save state of the mixing console board, which in physical means was done by taking photographs while audio data is the meaty stuff that you stream from your "big storage" place. Audio data is printed to the hard drive for organized easy access, just like when you're mixing in a studio, your audio tracks are on the 8 or 16 track tape, and you can pick up the tape reel and take it somewhere else. Your tracks are stored in neat folders so that you know where Cubase is looking for its files, and you can go edit them or copy them or whatever as you see fit.

guys i found better tasting turkey i can do this Mayonnaise is not an instrument, but it is a tasty calorie booster for a sandwich. Peri-Peri sauce is also just tasty.

*calls off the siren*

Oh shit OH SHIT *paging OCR Staff* we potentially may be bridging the generational gap here, this may call for copious amounts of alcohol and street fighter iii.

So what's the problem here? Are you saying OCReMix's standards are flawed because of the narrowed arrangement ideals? Are you saying that OCReMix should abandon its mission of artistic interpretation and instead turn into a cover site? I'm not sure what your point is, if you're lamenting that OCReMix is limited in mission, or if you are trying to prompt change in its mission, etc. I'm just asking for clarification.

4 whole proteins? jeebus, man.

jeebus wtf dude that is some serious cutting what 3 doctor hated diet pills are you using

I didn't know how good superpower shonen could be until I watched Hunter X Hunter. Seriously. Chimera Ant. I am consistently never mentally or emotionally prepared for anything in this arc. I think this is definitely the show that has the best written plot and characters I've ever seen. I don't want even compare it with my other "best" anime, because I'm not really emotionally prepared enough to try and rank them. Disappointed that Kurapika's arc will never be resolved at this rate, because of the production issues with the writer.

To Zanarkand from FFX is it for me. I never actually played the game, however I learned how to play it in Winter term of my Freshman year of college. I was going through a lot of drama stuff and that song was always around me because I was playing it so often, so listening to it or playing it will bring back sort of the vivid emotions of my mentally turbulent recent past.

Well, you said "vibe" which is a much different thing than "recognizability", considering recognizability is a subjective quality determined by how musically trained and/or perceptive the listener is. Vibe is very much rhythmic motion and atmosphere, which is subjective to absolutely qualify but in relative terms (comparing like, the FF7 battle theme and a Romantic Waltz version) is more of an objective thing that has less wiggle room. All I'm saying is that you feel OCR wants to retain the vibe of the original (which I disagree with) and also that the purpose of OCR is to maintain recognizaibility (which I do agree with). I feel like as far as vibe is concerned, OCR cares not, and actually encourages different vibe as part of the artistic goal of arrangement (and specifically, in your words, you said "OCR is still in part about retaining the vibe", so I'm not putting words in your mouth here). The balance to be struck and strove for is the recognizaibility aspect of a liberal mix, yeah. It's hard to make something recognizable but at the same time re-texturize it, re-harmonize it, etc. and like you, I also feel OCR is about maintaining recognizability. I mean, doesn't matter that I pool in and invert the notes of the melody (making it theoretically very similar) if most of the judges don't really hear the source in there. I seem to recall someone telling me once that they changed the mode (scale) of one of the melodies and some judges mistakenly didn't recognize the source, so the panel is also fallible and no one should treat them as the end all be all for arrangement ideals anyway. That anecdote was just word of mouth, though. At the same time, the judges are musically perceptive people, and if they have a hard time hearing the source even if theoretically it's all over, then it's probably within the mission for them to say NO, considering that any general public listener wouldn't be able to hear it either. The general principle is that you can't give the academic paper detailing how well you incorporated the source to a listener. If they can't hear it, it might as well not be there. This got me burned when I fought WillRock in the second GRMRB. I transposed Elec Man to a minor key and otherwise used it verbatim, but many votes went to WillRock because of "no Elec Man usage". Wasn't particularly mad, since Will had a great mix, but I learned from that experience that you can't really rely on general listeners to figure stuff out, because they don't really listen with a discerning, theoretical ear (and even newblood arrangers on this site don't... I seem to recall something someone said about "source has no discernible key" when a track used a leading tone in minor).

Is it bad that I started working this out on the piano >_>

As an arranger, it's your job to interpret. An arranger is a composer with material prepared for him (and a composer is an arranger without material prepared for him; in other words, they're synonymous jobs with different circumstances) and your job in either case is to demonstrate your level of musical craft as best you can. You should have a vision for some original musical contribution when you arrange something, not simply re-orchestrate (replace instrumentation) switch the form around. I'm going to disagree with timaeus that the purpose is to retain the vibe of an original whilst differentiating. That may be your personal preference as a type of arrangement, but keep in mind the mission is interpretation. You can completely tear down the vibe of something and give it a new one, and if it's interpreting the source, that's probably the ideal scenario for an OCR, and it requires a highly skilled arranger. For instance, if I turned the FF7 battle theme into a piano waltz (and somehow made that happen successfully, as in using the material of the battle theme like the melody but giving it the proper harmonic vibe and phrasing of a waltz), that's a no brainer direct post for OCR. I'm not going to do this, though, and don't ask me to, because the answer is no.

http://www.cambridge-mt.com/ms-mtk.htm Mixing stems. Literally thousands.

I just got hit with hard times recently. But I'm still trying to continue going to the gym, did some heavy stuff today.

Some composers have actually written this bullshit because they like mindfucking performers.

The sad part is that G# doesn't get a parallel major. It's there just to be sad and alone. I know I already cleared this up with you last night, but I'm posting it here anyway because everyone deserves a proper music theory explanation. The song is in Bb major, or G minor. If it is minor, it is G minor. If it is major, it is Bb major. No transposing involved here. The notes are the same for both of these scales, it just matters what is being emphasized (if G is the tonic, or ending chord, it's probably in G minor. If Bb, then Bb major.) Transposing means you take a sequence and shift it up or down by a number of half steps. In other words, if the song was in G minor, and you tranposed it up a half step, it would then be in G# minor, like timaeSword said. If it was in Bb major, it would go to B major. All you want to do is to make the song playable. If it's playable a half step lower in tuning, you are raising it a half step higher by playing the tabs in your standard tuning. If you want to RE-WRITE THE SHEET MUSIC (not the tabs) to reflect what it plays as in standard tuning, yes, you'd transpose to B major. (Which fortunately is changing the key sig from two flats to five sharps, but you don't have to change anything else because it's still B either way). If you're playing on tabs, there's no transposing needed. You're transposing it simply by playing the same tab in a different tuning. Now if the song was in Bb, but for some reason you wanted to play it in A, then put your guitar in D, and play the same tab, and you've transposed the Bb song to be an A song. You didn't change any fingerings, but you changed the notes you were playing. That's transposing. That's the essence of transposing instruments like Trumpet and Saxophone. The fingering is the same for a Bb Trumpet and a C Trumpet, but the actual note that comes out will be different. But transposing a song from Bb major to G minor is an entirely different task. If you were to transpose it to G minor from Bb major, what you'd actually be doing is moving all notes on the staff to start on G instead of Bb, and then lowering the third, sixth and seventh scale degrees (and in this case, since G minor is the relative minor of Bb, the resulting key signature is exactly the same. That's what a relative scale is; same scale, starting on a different note). It would make the happy song sound sad (and starting on a different note), and you're basically completely changing it at this point. Not what you wanna do at all. You want to SHIFT it up or down, not modify it.

Because it would turn out terrible unless it was done by Retro.

I don't like your reasoning here. You're basically saying "look at all these reasons for why it didn't work. If you removed them, it would work!" Except you're throwing new variables into the equation, like 3DS and modern consoles and Steam Workshop, and saying "with these things it would work!" But would it really, or do you just think it would work because the circumstances are different from past circumstances? For one, it's a loaded statement to automatically use those circumstances as reasons for why it failed without explaining why. You say "No one owned PSP". I believe a great many people owned the PSP, far more than the Nintendo 3DS. A personal appreciation of a game system doesn't extrapolate to an entire populace. http://en.wikipedia.org/wiki/List_of_million-selling_game_consoles Here is contained a list of units sold per console. The PSP has been quite successful a game console over its lifetime, actually managing to pull ahead the Game Boy Advance even though it's 3 years younger. If you want to talk about a game console that no one owned, talk about the Sega Dreamcast. The reason Sega stopped making consoles was because of the poor success of the Dreamcast. The PSP is no where near that level of marketing failure, and as such, it's not a valid reason to say a particular game on it wasn't successful because it was on the PSP. You say "based on Mega Man 1, which no one loves", and... where is your reasoning for this? To me it seems like you didn't like Mega Man 1 and are again extrapolating out to believe the general public didn't. Even if you were correct, you still have yet to explain why it would detriment the popularity of Mega Man Powered Up, or why Mega Man Powered Up would be any more successful if it were a remake of say, Mega Man 2. Furthermore, you're ignoring the fact that Capcom doesn't have any *motivation* to try it again under different circumstances. If you believe there is, what is it? What could counteract the money-driven corporate practices at Capcom and make them decide to revive something lackluster that died?