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djpretzel

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About djpretzel

Profile Information

  • Gender
    Male
  • Location
    Virginia, USA

Contact Methods

  • Website URL
    http://www.djpretzel.com

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  • Biography
    David W. Lloyd is a software engineer, musician, producer, and graphic designer from the Metro/DC area of the United States of America.

    Mr. Lloyd is the president and founder of OverClocked ReMix, an organization dedicated to the appreciation and preservation of video game music. He has popularized unofficial arrangements of this music by encouraging fans to submit mixes to the website he developed and maintains at http://www.ocremix.org. He has composed and produced numerous such arrangements himself, under the name of "djpretzel", in addition to original compositions available on his personal website at http://www.djpretzel.com. He has appeared alongside industry professionals like Tommy Tallarico and Jack Wall at game music events, and has been interviewed by Salon, Electronic Gaming Monthly, and others for his work with the site. He runs an associated record label, Overclocked Records, to help promote the original and arranged music of artists involved in gaming and computer culture.

    Mr. Lloyd is also an accomplished software engineer with ten years of experience in web-related technologies. His skills include experience in .NET, Java, and PHP software development, relational database design and administration, graphic design and web development using Photoshop and Dreamweaver, and extensive familiarity with Documentum-based software solutions, web services, and XML/XSLT.
  • Real Name
    David W. Lloyd
  • Occupation
    Software Engineer
  • Twitter Username
    djpretzel
  • Xbox Live Gamertag
    djpretzel
  • PlayStation Network ID
    djpretzel

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Bitwig Studio
    Studio One
  • Software - Preferred Plugins/Libraries
    [Plugins]: Kontakt, Omnisphere, Trilian, Battery, Reaktor, Sylenth1, Zebra2, Hive, Alchemy [Libraries]: Spitfire Albion & BML Series, Heavyocity, Impact Soundworks
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Lyrics
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Vocals: Male
    Vocals: Tenor

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djpretzel's Achievements

  1. Beautiful mix! I actually got "Stairway to Heaven" vibes on the intro, perhaps due to the renaissance-style melodic motif & recorders. So much to love, from the mixed woodwind and brass instrumentation to the singing/choir to the oscillation between intimate & epic. French horn stands out with a solo that conveys the richness/tone of the instrument, but really everyone involved delivers, in spades - these types of things are insanely difficult to pull off & make work, so I'll echo @Liontamer's tip of the hat to coordinator/arrange extraordinaire, @Jorito. Bravo!
  2. @evktalo Only familiar with the Genesis version of this game & its music, so this was... interesting! The source is nice enough, but I do love the less fanfare/celebratory and slightly darker direction you've taken it in, without changing the major key vibe. Lovely sound design with lots of different textures; bass slides in particular stood out. I have some very specific feedback that you can take or leave, of course: While there are elements that are cross-panned or spread out, all of the melodic leads seem center to center-left. Having at least one melodic lead (flute, one of the synths, etc.) panned center-right might make the "melodic lead space" a bit wider/dispersed, in a good way? Could also open things up to leads occasionally overlapping/harmonizing while remaining distinct. Just a thought. The backing synth line that fades in at 1'06" sticks around all the way to 1'35" or thereabouts, with the same straight sixteenth-note pattern; wondering about dropping it out for 1-2 bars and differentiating those measures as a break and/or modulating filter cutoff or something else to give it more movement/evolution over time? The switch to double-time might benefit from a longer dropout & gradual rebuild or something else to differentiate the two sections, since the same basic sounds are being employed. I think using the same sounds is fine - it sounds good at both speeds - but something more elegant & deliberate to facilitate/bridge the jump to double, maybe? Good stuff, as always!
  3. All the Zigs were already launched (for great justice), so that's a negative. Our lawyers have unfortunately informed us that we would need specific contracts consenting to sale of digital assets as RFTs, and also that RFTs "aren't actually a thing," so with many regrets we've had to withdraw these bold plans. The ALL POLKA ALL THE TIME thing is still on, though ­čśë
  4. @zircon That's your call obviously but if you've checked the markets, Zircoin has already tanked this morning after our announcement. I don't think it will recover.
  5. OC ReMix Announces Bold New Crypto/RFT Direction April 1, 2022 Contact: press@ocremix.org FAIRFAX, VA - OverClocked ReMix today announced the immediate availability of all featured OC ReMixes as RFTs, or "Re-Fungible Tokens," in a bold move to embrace the latest technology, regardless of its apparent benefit to artists and listeners. "There's been a lot of hostility towards and criticism of NFTs, especially from the creative community," writes David "djpretzel" Lloyd, President and Founder of OverClocked ReMix. "I'm an artist myself, and I think I know what the problem is - you can't funge NFTs. I've tried, but it's right there in the name, and I think that what most artists and listeners alike are looking for are tokens they can not only funge once, but repeatedly." Lloyd maintains that many of the perceived weaknesses of NFTs are mitigated by addressing this limitation - "Once you can funge over and over, and you've got that critical refungibility angle down, that's when the dynamic synergies and the Web 3.0 start to shine," he enthused. Environmental concerns about whether all this funging might expedite climate change and hurtle humanity ever faster towards living on an uninhabitable heat-sphere of death are unfounded, Lloyd says, because "this is all probably a simulation, anyways... and Web 4.0 will fix it." OverClocked ReMix will start accepting cryptocurrency immediately, to facilitate this shift to an RFT-based marketplace of digital web 3.0 content assets. Instructions are available on all mix pages. Ethereum, Bitcoin, and NiceWorkCoin will all be accepted from the start, with additional cryptocurrencies to follow. There are no plans to support Zircoin, now or in the future.
  6. @duskvstweak Basically agreed on all points. I could be additionally unkind (to myself) and say that most of the site feels a bit outdated, too, but the homepage is a good place to start. Step 1 is updating our site navigation to be responsive, which I've sat on for far too long. Hoping 2022 is the year.
  7. @RANDOMDUDE222 We actually built it ourselves, using Unity, so there's nothing *exactly* like it out there. Just as an aside, since someone else asked, we can't open-source it since it uses a bunch of third-party assets, and it's also very specifically tailored to our own needs. That being said: https://store.steampowered.com/app/1026380/Overture_Music_Visualization/ https://www.image-line.com/fl-studio-learning/fl-studio-online-manual/html/plugins/ZGameEditor Visualizer.htm Those are a couple other options, and if anyone else knows some good alternatives, please share!
  8. I'm personally bummed animeremix didn't catch on, but I did have a lot of fun on the three mixes I did there... that being said, we've got a laser focus on VGM at OCR, to such an extent that we're pedantic enough to not allow the Wii menu music since it's *technically* not a game, but part of the operating system
  9. Production is phat AND fat, with some buttery-smooth synth brass & bass, and generally I think this instrumentation is rock solid & absolutely suits the source. The arrangement is equally intuitive, and perhaps TOO intuitive - this is definitely a relatively conservative arrangement that leans on production enhancements more than gobs of original writing or harmonic alterations. What's here & additive is good, but there are also extended swaths that run parallel to the original, more or less. I would have liked to have seen a bit more addition and alteration in the arrangement department, but I concur with the above that it meets our standards in this regard, and from a pure joy/funk/production perspective, this is ace. YES
  10. Feb. 18 - OverClocked ReMix becomes separate site with its own sub-domain, remix.overclocked.org, debuting its initial orange layout
  11. Dec. 12 - "DJ Pretzel's OverClocked ReMix" debuts as side project of OverClocked, a 3D web comic covering the emulation scene
  12. Dec. 11 - djpretzel completes very first OverClocked ReMix, Phantasy Star III 'Legacy'
  13. @Damashii!! I'll talk to Brandon and see how things are going on his end; very real possibility that Thanksgiving time frame will work, and would be awesome to include your work. We sent some emails your way, trying to make sure everything's okay. Let us know what's up, and also I have a spare PSU I can send you, if it helps.
  14. @Lashmush I do sorta feel like you glossed over my response and simply repeated your many misgivings about the overall process; your second post here reads very similar to your first. We do seem to have a fundamental difference of opinion - and yes, it's opinion, not fact - regarding what's off limits or counterproductive when it comes to criticism, specifically of music. When a judge points out that a piano part "doesn't sound playable" and it's intended as criticism, you can infer that not only does it not sound like someone could play the part - which I agree isn't really an issue by itself - but that it sounds unplayable in a way that is displeasing to the judge, doesn't sit well with the rest of the arrangement, etc. Your definition of criticism would eliminate some of the best, most specific feedback I've seen the panel provide, over the years, which in countless cases was implemented and resulted in a better mix - with the judges AND the artist agreeing about the improvement. It does happen, and frequently enough to reinforce to me that such efforts are not in vain, as you imply. You mention some fringe cases, where a musical work defies orthodoxy in one way or another and would presumably run afoul of our standards, but... we've passed a ton of material that is experimental, unorthodox, or otherwise "challenging" over the years. In the case of your arrangement, the piece wasn't really out of left field - it has familiar aspects of structure/genre and doesn't strike me as a particularly unusual VGM arrangement. As I've mentioned, I liked it. And I agree, with several judges, that the bass is poorly mixed. Your response is that you meant to do it that way, you love the piece as-is, and you question our ability to isolate any single element as being problematic; I profoundly disagree with this thinking, because it would mean that judges could NEVER hone in on muddy mixing, weak drums, abrasive high frequencies on a guitar part, an out-of-tune trumpet, etc. - all of that COULD simply be how the artist wanted it, and who are we to judge? Except, that's just it. It's a judges panel. A panel of judges. That judge. Always has been. And inherent in having any sort of evaluative mechanism of subjective/creative material - whether it's a panel of judges, or a "Quality Control" team, or whatever - is going to be an analysis of what's presented, how it works, and what is or is not preventing it from being featured on one small corner of a very large Internet.
  15. @begoma I've been in contact with Brandon and we hope to put things behind us, make this the best album possible, and release something both OCR & he will be proud of - given that it's the third leg of a trilogy he started, I thought we should at least try to make this happen, and @Rexy has been helping make that possible. Right now mithius is working on some epic material that I know will elevate the final result - I still hope to release this year, and we'll be discussing timeline soon. So, short version: Not dead, trying to work with Brandon to make something happen, stay tuned.
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