WillRock

Great post, I can definitely see your points. Makes a lot of sense

You could argue they do because its covered by the pay they get for doing the acting in the first place if it comes with the territory. Hahahaha, touche bro! Its a good question, but lets see... I've paid to do exposure on the internet as an experiment (I actually think this is ok because it requires no time or effort on my part at all) and i've received pretty much little to no buys of my music from this, so via the internet, I'm standing to lose more money the more I promote myself. Edgebee Studios - those games on Kongregate alone have received millions of hits, and i've received little to no recognition for it personally, so its a good job I got paid for them... Doing it in person on a stage tho... Done that as well with others - for free with OCRemix, not representing myself - and we're only managed to build up interest in a select few people over time. For someone in my position, playing at the super bowl is most likely priceless, but this is Bruno Mars, who is a well established musician with a large fanbase, proven to sell millions of records already. Its more the fact that HE won't get paid for his work. For me, someone who has no exposure in comparison, sure I'd do it for free, maybe even pay, but I probably would have to give it some serious thought if I was bruno mars before I said yes. To try and rephrase my point - if the Super Bowl, who will give you the biggest exposure, won't pay the biggest artists, why should smaller venues pay for smaller artists? It creates a negative business modal that suggests our art isn't worth paying for... and we allow it. That is also a good point, and there has been some communication error there, my bad, allow me to explain What the Joker meant by his quote is irrelevant because I was using his quote to emphasis my own meaning. I probably should have been more clear about that, sorry. I believe OCR is exempt from the rule because of the copyright laws. I think I have more than expressed my point of view here so I will bow out of this conversation. Agree to disagree

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Maybe I am going after the wrong target, and maybe the exposure is worth a fortune. Again, I ask about everyone else who gets paid. Are they exempt from the exposure they get from the NFL? The NFL Players for example. Why is it ok for musicians but not for the players? No one has actually answered that yet. Doesn't seem fair to me. Besides, you're missing the point that i'm annoyed about the Super Bowl. I'm more annoyed with the attitude towards it. It seems like too many people are ok with the idea of performing free for exposure - more than that, they are ENCOURAGING it in this case, and yes I know that people have said that it is different on a smaller scale, but people constantly find ways to get out of paying musicians money for whatever reasons and we just seem to be ok with it. Where is the line drawn? Is it literally JUST the super bowl? Why are you comparing this to OCR? OCR takes copyrighted works and rearranges them. That is a big exception because the music belongs to someone else. Hold on, just to clarify, you're suggesting that people should pay to work at the super bowl because of "advertising time"? ...What? Do actors have to pay money to be in films/TV Shows because of the advertising time the directors are giving them? What about people who work in video games? Do the level designers, musicians, graphic designers all have to pay the game developer to work in their games? Are people suppose to pay for jobs because the boss is helping with exposure by having something to put on their CV? What you're suggesting is ridiculous. Yes I might be getting caught up in "principles" as Palpable says, but if it was ANYTHING else other than a musician, I BET you that the Super Bowl would pay up for it.

The only reason the Super Bowl don't pay is because we let them do it. If every famous artist in the world demanded payment, would the Super Bowl pay up or get some unknown band? I wonder. What about everyone else? The NFL players for example? "Oh its ok, you get expenses paid for and you'll be sponsored anyway. Everyone will be buying your merchandise after this, so we're not going to bother paying you" So you're saying its ok for everyone else but not ok for musicians? I don't doubt that Bruno probably got his share of exposure and indirect payment, but instincts are telling me he's got gaining as much as he should be from it. To quote a great man -

"We're giving you exposure, why should we pay you?" Thats what the Super Bowl are saying and its that mentality that is destroying the industry. ANY venue can make the argument that they're worth as much as the money you'd earn indirectly from sales after, so by saying this about the Super Bowl, you're giving every venue in the world that same ammo. We are currently living in a world where everyone torrents or streams music for $5 a month. You're lucky if someone actually buys your music these days - many people only get money from gigs and some of you lot are saying that we shouldn't get paid for gigs on top of this? You're all saying "Why should we get paid at all? We're getting EXPOSURE!" Exposure is pointless if you can't earn any money from it and it feels like we are slowly coming into some strange acceptance that we don't DESERVE money for it... or as much as we should, at the very least.

Haha wow. I don't like doing lazy votes but OA NAILED it. I don't even need to add anything. What he said NO (resub)

The intro to this remix is cool. Great use of SFX... not a big fan of the lead at 0:16 tho. When the drums kick in, they feel like the focus of the mix. Strong and punchy. However, the leads and all the other synths are buried underneath them, and this continues throughout. Quite a sizeable problem, particularly without the drums and there is no focus point. The arrangement is really cool btw - DUBSTEP WUBS and drums with some really really cool writing that takes the originals menace and does away with the more comedic elements of his writing to give something slightly more sinister. The sounds are good... the bass could stand to be more bassy tho, and more care on the mixing needs to be taken as well. Its a shame because due to the drums taking all the attention, a lot of the more creative writing from the synths is lost in the shuffle. The big issue for me is the mixing - the lack of focus in the melodic writing is a BIG problem, and I think this could be touched up some for the resub. I am going to go on record and say that I don't think the drums need boosting in volume at least, but some more bass/compression could help them stand out more and add a bit of punch. I'd suggest fixing up your synth mixing first tho! Its close to the bar, I don't think it needs much more No (resub)

Happy Birthday to my bro Pete Lepley! Also happy birthday to Magellanic, who you guys totally forgot about, shame on you all

NO Sorry, you gotta spend more than 2 seconds on a remix title Ok seriously: Lots to like here! Awesome source first off. The first thing that strikes me about this track is the production. Its punchy, clean, and sounds great. No complaints there. The lead sequencing as the others said is a little stiff. There is a little automation thrown on synths when looking for it tho. I'm not sure I like the breakdown with the vocal lead. There are some weird note choices, but I think it just about gets by. For the most part the sounds are a bit generic, but they all sound great to me. The arrangement is also good, it repeats itself a bit but never gets boring, despite the plodding beat. Yes, this track does have minor issues. However, I think there are a lot of little issues that bring down a generally very strong track. I am going to go with the yes vote, since I don't think the issues bring it below the bar. YES

I wish I had been there to see this. Yipyipyipyipyipyipyipyipyip

Ok, so right off the bat, dissonance. I'm all for intentional dissonance, if I think it works. Here, I think it treads a very fine line. It doesn't make my hairs stand on end at the beginning, it just makes me want to turn it off. Sounds harsh, but I'm not sure how else to convey my thoughts without being harsh like this. I think 1:24 is somewhere it works much much better, it creates a sense of panic and discomfort without me going "eek". The piano for me is probably the biggest offender, its quite shrill and the disonnence sounds much more jarring than on any of the other instruments. The mixing also sounds muddy, and intentionally so. I can dig it as a concept, because I feel like this track is trying to convey a very intentional attitude but its taken slightly overboard imo. it might need just a bit more care taken on the production and some of the dissonance removed for this to get the pass imo. That said, the arrangement is SWELL. Digging the concept, but I don't feel like it jells quite like it should due to overkill. NO (resub)

I almost got mag depression but I ended up going back to the gaylord after everyone had gone and hung out with ben briggs and DJ Cutman. Back home, feeling fine, avoided mag-flu and feeling pretty good, plus inspired to work on some music. Good timez. For anyone who didn't see my facebook status, was AWESOME seeing everyone. Crazy experience was crazy.

The album has just got featured on Destructoid! - http://www.destructoid.com/the-real-world-is-80s-inspired-chiptunes-apparently-268194.phtml#kz1sUtxOwZbwrf8r.01

Happy Birthday man!

Thanks for the kind words guys! Pete did an AWESOME job on that remix, and unlike the rest of the album its FREE. Also, Crystalline Seashores is also a free download on 9-bit blitzkrieg here The album is also available on Amazon and the itunes Store! (which I can't link sadly) I'd still recommend Bandcamp tho, due to free bonus track and its slightly cheaper

Sup OCR! Welcome to the Real World is my first Full Length Original Album effort, which is available for download at Bandcamp! Welcome to the Real World is a 10 track album, which i've been working on for the past 2 years. The album is a big fat 80's inspired nostalgia trip of Chiptune, Rock, Electronic and Jazz music. Think of a combination of Vince DiCola, Journey, all those awesome video games you grew up with as a kid, and FM, because FM is the bomb. Track 2 features the Vocal Talents of Jeff Luke (Double Dragon Neon) and the album also features a "Shoot em' Down!" Remix by OCRs Phonetic Hero! Buy it on Bandcamp for £3+ (roughly 5 dollars). I also have plans to do Physicals some time in the near future! I'd lastly like to thank OCR as a community for its support and helping me grow as an artist. This album wouldn't have been possible without this site. I hope you all enjoy the album!

Thanks to everyone who joined the listening party, it was a massive success!

Congratulations DJP! So... the question everyone is asking is... CAN THE BABY DJP???? :D:D I'd like to take this opportunity to welcome your baby to the real world.

2 hours to go!

Got an updated Link here!

Ever seen Stoppit and Tidyup? Crazy kids TV show narrated by Terry Wogan, this remix would have fit perfectly with that show, the opening music is so similar - So I can TOTALLY see what you're going for here. That opening synth is great, but I feel like the drums lack quite a bit of punch, and dat sax is a bit weak, altho it does have some charm to it in context. The bass isn't very strong either, I feel like a new "squelchy" bass like that synth could work. Humanisation would help. Also, more panning would help. Its a very cool idea, but atm, I'm bordering on the No. What you've got here is great tho. A great base, but i'm going to have to give this a "big bad I said NO" (resub)

Agreed with vinnie on the source pretty much. If i'm generous on stopwatching, I give you 88 seconds of source in a 5 minute remix. Needs at least 50% to pass so I can't sign off on it. Really really nice work tho callum, resub this with a bit more source and send it back our way. Only other thing i'd suggest is fix the clipping at 2:17, that dynamic contrast is jarring anyway... curious what you're reasoning was for it. Anyways, nice track but I vote NO (resub)