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About djpretzel

  • Rank
  • Birthday 07/25/1979

Profile Information

  • Gender
  • Location
    Fairfax, Virginia, USA

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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 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 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
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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
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Vocals: Male

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  1. djpretzel

    SampleTank 4

    Yeah I did a double take when I saw the thread title; mostly because IK sat on SampleTank 2.X FOREVER. Like, longer than Microsoft sat on Internet Explorer 6.X. There was ST 2, 2.1, 2.3 (IIRC), then 2.5.... then 3 *finally* came out and, well, it really wasn't all that different, in terms of the sound. To jump to 4.X so soon, and without a MAJOR new distinguishing feature, I don't know... not getting warm fuzzies in terms of improvements over 3.X, at least.
  2. @Meteo Xavier I've given you a warning and hidden your post; I get that there is animosity but when you come at things sideways like this and bring tons of baggage into an otherwise on-topic conversation, I can't do much. This needs to be hashed out in private, between the two of you, or not at all and you can both use the block/ignore function. Those are the only reasonable options I'm aware of. ...and on-topic, I actually went for SAM Essentials 2 instead of 1, because I liked the place it fit with everything else I had, and because red is better than green. It DOES load faster & chew up less resources than most Spitfire stuff, and while the mic options & general customization is limited, it can sound very good.
  3. djpretzel

    Chrono Cross Remix Project - submitted!

    Just chiming in with an update: Our current plan is that Chronopolis will be the first OC ReMix album released in 2019 (yay!) This is partly because we're trying to get Arcadia Legends out this month (yay, but also difficult!)
  4. What did you think? Post your opinion of this ReMix.
  5. djpretzel

    Do You Still ReMix — Why Or Why Not?

    That's completely cool - no need to play devil's advocate, because I'm not prescribing my perspective for everyone else, just saying how I see things personally. Ultimately, since I'm less motivated my marketing/commercialization, I'm doing things for myself. To me, even if it's an arrangement, that makes it more personal than if I was trying to make something marketable. I think there's a balance to be struck on all these concerns, and it can even vary from piece to piece. Having a one-size-fits-all creative ideology just makes you inflexible. And yes, to me all art is a collaborative process, because even something shared with no one else and made exclusively for yourself is the product of a conversation your mind has had with your culture, your environment, etc. The collaborator need not be human, or even alive, but is always there to some extent. To me that's not just a "nice idea," it's a profound truth, and no amount of copyright hoo-hah or commercial consideration can change it, because it's beyond that, and it's what makes art great. Again, my perspective.
  6. djpretzel

    Do You Still ReMix — Why Or Why Not?

    These reasons may seem true for you personally, but I disagree strongly with both as generalizations, and they certainly aren't true for me. They're also both kinda-sorta saying the same thing, re: ownership and that being the primary sticking point, creatively speaking. My more-than-two-cents: I think of my mixes as my own AND as collaborations with the original composer's ideas. I don't think it has to be one or the other. I actually tend to think of ALL artistic creation as a collaboration of sorts, even the most personal works, so it all lays on a spectrum... not a Boolean. So this is a false dichotomy, to me at least. I've heard hundreds of arrangements that brought original ideas to the table, relative to the source in question; a musical work's status as an arrangement carries SOME obligation to reuse ideas, motifs, etc., but within that framework artists can be quite creative, as we've seen over two decades, and outside of that framework, making something original, artists can still be quite derivative. So again, the premise seems weird to me, too much hinged on some notion of personal ownership being the end-all be-all & offering a stamp of great meaning & significance. My answer is that I still do it, primarily because there are still plenty of melodies out there that I want to hear a certain way, that I can bring something to, and make something of worth that I enjoy and that others might enjoy as well.
  7. djpretzel

    What is the ideal length of a musical album to you?

    Am I the only one who thinks of this question primarily in terms of # of songs and not duration? I'm happier with a 12-song, 40-minute album where each song is unique than I am with an 8-song, 60-minute album, generally speaking... more about the number of ideas than their length
  8. djpretzel

    Advice on Channeling Creativity from Anxiety

    Everyone has a different take; for me, I think you just HAVE to come to the creative process with a goal of making something that makes YOU happy. There can be flaws, there can be things you'd do differently next time, you can digest & consider constructive criticism, but if there's an idea SOMEWHERE in there that, regardless of anything else, you think deserves to exist in the world, which you're proud of, you can draw strength from that. Applied to something like poetry: If I write a poem, and there's a single line, or even a phrase within a line, that I love, that I am proud of, that I want to exist within a context that facilitates it... I'm good. With music, arrangement in particular, if there's a single melodic or harmonic idea that's not obvious, that works, that feels like something personal that only I might have done "that way"... I'm good. Obviously, it's better if there are multiple ideas, and it's better if the context in which they exist is polished, strong, etc. overall, but even if it's the most professional-sounding piece of music in the world, if there ISN'T an idea/moment like that in there, I won't love it. So, to paraphrase: "Draw creative strength from your moments of light, no matter how dark their surroundings may sometimes seem"? Something like that!
  9. Killer! I could see some minor mastering tweaks/permutations but they'd really just be variations - sounding fantastic as-is, please do submit when you're happy with it (I certainly would be)!
  10. djpretzel

    OverClocked ReMix Design ?'s and Issues

    Should be fixed, thanks for reporting.
  11. djpretzel

    FL Studio 20 now released

    Ableton Live 10, Reason 10, Studio One 4, and now FL20... good times for DAWs. Happy to see OSX support and all the new features; not my main DAW and probably never will be, but still keepin' tabs.
  12. djpretzel

    OCR03730 - *YES* Mega Man X & X4 "Rolling"

    Just chiming in quickly; I think the production bar could stand to be lowered a bit, especially on the more subjective mixing/mastering front for relatively complex/ambitious tracks like this. I get that there are certain common types of issues that are easy to cite - a smidge too much compression, crowding, etc. - but I feel like a mix of this particular arrangement/production balance should always make it through; pretty surprised this was as close a call as it was.
  13. djpretzel

    April Fool's Gold

    I can neither confirm nor deny that our recent website issues were the result of foreign interference Most credit goes to @José the Bronx Rican, secondary credit to Google Translate & my wife for some minor edits @Mazedude Just so you know, everything's okay!
  14. djpretzel

    American Pixels wins a SAMMY

    Well-deserved - great album!
  15. djpretzel

    *NO* Final Fantasy 4 'Devotion to the Motif'

    Agreed; arguably that makes it a YES conditional; I do hope APZX revises the mix. More the pitch bends than the strings. The dynamic panning helps the strings, and it's a unique lead sound you don't hear much... by the same token, it kinda sits in uncanny valley for me, sounding more realistic than most classic string synths (Solina, etc.) but not as realistic as actual strings... something more committed to either a classic analog string synth or realistic strings would probably work better, and an entirely different approach to the lead might also be more effective. The pitch bends are not only overused, but weirdly implemented... they warble a bit, and the increment is subtle, and it almost sounds like someone trying to learn the theremin. The pitch bend down on final note of phrase has such a connection with Blade Runner for me, too... not 100% it survives this implementation without channeling that in a weird way. I had no major problems with harmony/dissonance except as relevant to the pitch bending. We'll see what @Liontamer thinks. I think is creative, fun, engaging, and would love to see it on the site, but I also agree with the apparent consensus of the panel that the pitch bending (first & foremost) and the lead string patch (secondary but non-trivial) being addressed & refined would let this shine. NO (but please resubmit with fixes!)