djpretzel

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I've only seen the unicode script be truly problematic a couple of times, but I agree that in general unicode should be usable, since Japanese chars. can be helpful in particular. I've temp-banned Atmuh here on the forums based on his response to the above, and will continue to do so as needed. No sympathy for any users who so continually waste site staff time.

It would; will definitely consider it. Regarding the CT count discrepancy, that's direct mixes (named) vs. mixes that are primary to another game but include material from CT. The query that calculates count needs to take into account indirect mixes... I guess. It's debatable, really... a mix could have only a passing reference to CT and still be included. I'm thinking what might make more sense is more clearly separating the direct vs. indirect mixes on the game detail page.

Externalize strings into .Properties files, Unicode format text files. Read them in as UTF-8. Might need to do this hack: http://www.thoughtsabout.net/blog/archives/000044.html. You definitely want UTF-8, as that will allow for most any charset, incl. Japanese/Chinese. Also, FYI: http://jlanguagelearn.com/ Yes and no, for all sorts of reasons... PHP is actually not as Unicode-friendly as you'd think, there are separate methods/stuff you need to do, persisting to a text file can get ugly, doing things like timers and basic display stuff might be easier in Swing/AWT depending on what he's got in mind. I'd really hesitate to always recommend the web-based route, especially for what amounts to a personal, desktop-oriented business case.

There's a couple different topics going on here. My two cents: You can teach music theory, but you can't really teach enthusiasm or passion. Music theory and proficiency at playing an instrument really aren't the same thing... theory can be grasped by the average student, but instrumental/vocal talent is partly innate and partly gained through repetition, i.e. practice. Both solid theory knowledge (which I lack) and proficiency at playing an instrument (ditto, for the most part) can change the way you actually compose and present options that wouldn't be there otherwise. It's hard to compose a wildly impressive solo that you couldn't actually play, and through playing such material yourself you get ideas about how to write similar parts. Or so I've been told That being said, I'll explain my own personal stance, which may not be right for most people... or anyone. I've found that, even with my relatively thin theory knowledge and untrained keyboard playing, there are literally tons of arrangement options open to me for any given source material, and I can almost always do what I want to. I guess this is because, musically, I've never been drawn to forms or genres or artists that emphasize impressive, extended soloing. I can appreciate DT, etc., but I'm more about the concise, Zen-like melodic focus on a few key intervals that, if not just right, would ruin (imo) an arrangement idea. That aspect of arranging - not only knowing what you could potentially change in a melody (while keeping the soul intact) but favoring one approach over the other... that's something that all the theory in the world doesn't necessarily help with. You could call it passion or enthusiasm... I think I'd call it style.

Since we don't have a musical genre tree down firmly, it was really just a dry run to get implementation sorted out.

Yes... and no. Let me explain: I see the whole "Internet is Serious Business" mantra two ways: Good: "Chill out, you didn't lose any money or teeth, people behave like asses online, etc." Bad: "It's just the Internet. People can and should act like douches with zero repercussions because the Internet is a trivial waste of time and common decency is overrated in the first place." In other words, I think the whole "it's just the Internet" argument is a little self-defeating. Billions of dollars move back and forth on the Internet every day. People are introduced to gals/guys they end up marrying. Company secrets are leaked and corrupt business practices exposed that would previously have gotten little to no coverage whatsoever. Bloggers that aren't part of the mainstream media give the average citizen a powerful voice in elections and other aspects of the political process. People from all over the world collaborate, argue, share ideas, and yes, act like idiots, but on a platform that allows (for the first time since ever) significant cultural and geographic diversity. Honestly, if I didn't think the Internet was ACTUALLY at least SEMI-serious business, I'd feel like a jackass for wasting so much time on it, and I don't see why anyone else who's poured their heart and soul into a website, or been introduced to new ideas & people, or had their prejudices and stereotypes shattered time and again, would feel differently. Too often I feel like the whole "Internet is serious business" line is being used either by people who want to excuse their own stupidity by contextualizing, or to criticize the overreactions of others... which would be overreactions in real life, too, by the way. Every time something like this happens online, the common reaction is always "it's just the Internet"... as if people killing each other for $100 sneakers, or in bar fights, made any more sense. I don't see why we need to marginalize/trivialize the Internet specifically: people do this sort of shit, one way or the other. To sum things up, I don't think anyone deserves to die for anything they say, period. On the Internet, or off. The Internet is no more or less "serious business" than real life, in this particular regard.

I do now have a mechanism in place that allows for hierarchical categorization by genre... for games. Very similar code/structure could be used for mixes... I think the consensus on the judges panel is that we want to run any implementation of mix genres by ReMixers, and do a private poll of the artists themselves, before moving ahead. "Vocals" wouldn't be a genre, but it might fall under a different branch of what essentially equates to a taxonomy.

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The circumstances surrounding the unavailability on Aubrey's end were pretty sudden; he warned me as soon as he had the information. I've spoken with LiquidWeb and they don't have a blanket policy against running a torrent tracker (long as we're not doing warez/pron/etc.), so migrating the tracker to our main box is one option, however I don't want to impact the actual website in terms of CPU/RAM utilization.... we'll see.

Aubrey has informed me that as of today, the Supertux HTTP mirror and torrent tracker will no longer be available. I'd like to personally thank him for making these resources available at no charge to OC ReMix over the years. We are investigating the quickest way to bring the torrents back online, and will post a follow-up announcement when a new solution is in place. UPDATED: We've got a temporarily solution that Aubrey's helped set up that should hold us for awhile, but the eventual plan is to move the tracker onto OCR's primary server and host it ourselves.

So does everyone else, apparently... that's just never made any sense to me, because I say "chronological" with an "ahn" not an "ohhn" sound... I think it's yet another instance (see Evangelion, Pokemon) of the Japanese taking an English word, using it in a proper noun with a somewhat inaccurate pronounciation due to the way the Japanese language works, and then the English speaking world insisting on mispronouncing it the same way... which has never made much sense to me...

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I'm djpretzel, and I approve this message.

What makes you think I haven't?

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Neither do I; some other users complained on their forums, not sure what's being done, if anything. Out of my control.

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He told myself and others Nebraska, not Nashville, but also that he was going to work in a studio. No matter how busy you are, I don't think there's any physical way you could be doing that 100% of the time; he hasn't just quit visiting OCR, remember, he's quit doing anything on the Internet *period* - wouldn't the studio at least have net access? Cyber cafes? imo, you don't quit the entire net cold turkey without warning people ahead of time, because honestly, I'm worried, and Gray wasn't the type of person to make people worry about him...

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Well... actually, considering only allowing PMs after postcount > 10, to avoid PM spam... never say never

OC ReMix Interviews Composer Patrick Zimmerli By: David Lloyd, dlloyd@ocremix.org "I'm more interested in developing my own ideas as an artist. If a director or creative team approached me to work on a film or game who is familiar with my music and wants my particular style for the film, that would be very interesting to me. So far that hasn't happened, but you never know what may come up... " - Patrick Zimmerli, OC ReMix Interview September 6th, 2008 Fairfax, VA -- OverClocked ReMix today published its second video game composer interview, with contemporary classical and jazz composer Patrick Zimmerli. Zimmerli is known more for his original work, and has only scored a single game. The interview itself begins by explaining this unusual choice: "...For every composer who chooses to work primarily in video games, there are dozens more who might compose for one or two games, then proceed (or return) to work in film, television, or composing original standalone works. In 1997, Patrick Zimmerli composed the soundtrack for the PC game Evolution: The Game of Intelligent Life, a precursor to future evolution-centered games like the upcoming Spore. It was his first and possibly last game soundtrack, but it's not that he quit making music: on the contrary, Patrick is a successful jazz and contemporary classical composer living in NYC and writing myriad original works, in addition to composing for film and television. We wanted to see what the one-time experience of composing for games was like for a composer whose primary focus wasn't game composition at all. Patrick was a little surprised when we contacted him out of the blue, but we feel that his answers to our questions were insightful, entertaining, and relevant to understanding more about the world of game music." The interview is available online at http://www.ocremix.org/info/Composer_Interview:_Patrick_Zimmerli. About OverClocked ReMix Founded in 1999, OverClocked ReMix is an organization dedicated to the appreciation, preservation, and interpretation of video game music. Its primary focus is www.ocremix.org, a website featuring hundreds of free fan arrangements, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. Links Composer Interview: Patrick Zimmerli OC ReMix interviews Patrick Zimmerli (Homepage)