djpretzel

So why wasn't it called "Circular Zircon Check Out WWW.OCREMIX.ORG Today For More Great Music Including djpretzel" then? Huh? Cool to see some airplay in an environment filled with other musicians - congrats.

Does anyone coming need shirts/hoodies? I think most of us are covered, but if you do - either for yourself or someone you know - let me know types/sizes ahead of time and I'll bring 'em with. Discount convention prices of $10 for shirts and $20 for hoodies (and of course no S&H) would apply

Studio A: AKG C1000S Studio B: Rode NT1a

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Aight, I give in Actually just got a brand new LG Voyager since my old cell phone was due for an upgrade, so I figured I'd test its camera out with these shots. Pretty decent, imo! Studio A: Studio B:

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Jill: good idea! Anyone helping: THANKS!

Cool. Larry and I routinely whine about the lack of reviews; we need more! Bubble Bobble certainly brought the pain, back in the day. Just consider this: Worse BB mixes got removed in the lockdown, sure, but can you imagine the ones that never made it onto the site in the first place, even back then?

Very nice, sir. Wish you'd add more interpretation and consider submitting, though - the Ys series needs more love!

I guess I like this thread... anything that gets people listening to the older stuff is a good thing in my book... but honestly, there were pieces even way back then that could stand up to what's being posted today. Death on the Snowfield, Portal, almost any of McVaffe's old stuff... I think quite a bit of it is good and would still be posted today, it's just less consistent. There are some tracks that I'd definitely call mediocre, *maybe* bad, and some of those are mine, but we got rid of some of the worst and most flagrant standards violations with the lockdowns, and I feel like what's left does at least constitute arrangement. In other words, I do definitely feel like the site's progressed, but I also feel like there's a really solid base in the existing older mixes that not only shows where we came from, but also represents a lot of damn fine music. Also, suggestion: OA's done an ace job of spreading the review love. If you're going back through everything, why not for each batch of 5-6 that you listen to, pick one to write a review for? A lot of those artists are still around and would still be interested in getting feedback, even if they've gotten a lot better since.

Give us a mix and I'll pimp your project in my writeup, little man.

SPOILERS Ooff... Finally saw this tonight. A little late to the game, perhaps, but a huge fan of the first and third films and an occasional admirer of the second. I have no idea why critics are being so nice to this one; I think it's because of the ages of those involved and unlikelihood of a fifth film with the same principles in play. I've read back through this thread, and there seem to be folk criticizing the film, and others defending it, and the main defense seems to be "but the other three films were like that, too!"... I sure hope not. The CG is bad to a fault... normally wouldn't be a huge issue, but it's overused as well, and applied to scenes that could have been shot traditionally (admittedly would have been much harder)... But it's a non-issue compared to the goofiness of the overall plot. How was it any sort of revelation that the skull was alien in nature? It resembles the stereotypical Communion-style alien form in every way, right from the beginning. Also, a little unclear.... 13 aliens, or 1? And they came to Earth for... what reason? To be worshipped awhile, have one of their heads stolen, wait a real long time, then fry a Russian woman's eye sockets because she wants to know stuff? Was her fate punishment for being inquisitive - which, in the face of alien intelligence, might actually seem admirable and preferable to running away - or for being Communist? Or perhaps being psychic... an ability she uses all of once in the film, and without actual results? A couple problematically ridiculous lines: "They've gone to the spaces BETWEEN spaces..." (presumably where the good parts of the screenplay went, too...) "Their treasure was knowledge. Knowledge was their treasure." (...of what? What is it that they knew? Why'd they stop knowing it? What did it get them? If it's a treasure, why was Cate's wanting to know rewarded with disintegration? Because she didn't wear a thong and speak Mayan?) IJ 1-3 had NOTHING on that level of bad when it comes to writing. This film needed racially insensitive CG Short Round on a CG elephant.

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Interesting.... gonna have to get used to this! We should talk at some point about how to popularize with links from OCR.

OC ReMix Interviews Wipeout composer Tim Wright (CoLD SToRAGE) By: Larry Oji, larryoji@ocremix.org "A good tune is a good tune. That’s basically it! If a melody can stand the test of time when it’s being played with a one channel sine wave then it can stand being a fully orchestrated piece of music. I guess really it’s substance over style." - Tim Wright, OC ReMix Interview June 5, 2008 Fairfax, VA -- OverClocked ReMix today published its first video game composer interview, with pioneering British VGM composer Tim "CoLD SToRAGE" Wright. Wright helped usher electronica into professional game scores with his work on the landmark racing title Wipeout, released in 1995 by Psygnosis for the then-emerging Sony PlayStation. The interview touches on other career highlights such as Wright's days composing for the Commodore Amiga, his development of popular music creation programs eJay and MUSIC (a.k.a. MTV Music Generator), and his upcoming original album, CoLD SToRAGE HD, which functions as an unofficial soundtrack to Sony's latest title in the Wipeout franchise, Wipeout HD for the PlayStation 3. The interview is available online at http://www.ocremix.org/info/Composer_Interview:_CoLD_SToRAGE_%28Tim_Wright%29. Conducted by site staff, OC ReMix interviews cover major aspects of a composer's career, featuring targeted questions unique to each subject, as well a standard list of questions that specifically delve into a musician's formative years, creative inspirations, and views on the current state of the game music industry. This unique format presents both a contemporary look at a composer's recent activities as well as more comprehensive questions about the nature of video game music composition. 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: CoLD SToRAGE (Tim Wright) OC ReMix interviews Tim Wright Composer Profile at OC ReMix The Official CoLD SToRAGE Website Purchase the albums of CoLD SToRAGE Wright's company, Tantrumedia Multimedia Solutions CoLD SToRAGE @ MySpace

Rossum was the lead in the film adaptation of Phantom of the Opera and starred opposite Jake Gylenhall in Day After Tomorrow; she's all the hotter in my book because she really CAN sing. Everyone else in Phantom was a stretch for me, but she carried it. If you're "into martial arts" or whatever, I don't see how that sort of purism can be applied to a world where people change hair color and destroy entire planets and fight strangely phallic pink aliens... if however you're concerned that they won't respect the source material, that's a whole other story. How can you, really, if you're doing live action? It's a totally different medium, and imo liberties SHOULD be taken to account for this. It may in fact suck, BUT I'll be cautiously optimistic and say that, at the very least, the casting is looking solid.

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If you liked The Big O, as I do, I suggest the sub of Giant Robo... not exactly the same, sure, but some similar aesthetics and story elements. Giant Robo also has one of the best anime OSTs EVER, recorded by the Warsaw Philharmonic. Plus, its creator is a huge fan of Rocky Horror, so can you really go wrong?

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What Jimmy said I recently talked with folks from another site who from this thread somehow got the impression that we're in dire economic straits, on the verge of collapsing; this is not the case, nor do I think we tried to pretend it was the case so as to get more donations. The situation is simply that, with Google ads being the primary thing allowing the site to break even, their decline did for the first time since we became self-hosted jeopardize our breaking even. Furthermore, I was spending a lot of time worrying about the ads, going over statistics, etc. when - in my mind at least - I should have been working on making the site better. This fundraiser accomplished the goal of allowing me to focus on development 120% - I've been doing tons of work and am making great progress, with help from others. Just as a sidenote, my reaction was positive but restrained because I don't want to give people the impression that we're now "set for life" or anything... I think the idea of an annual thing like this, every April, is fantastic, but hopefully year round people will start using the Amazon and Zzounds referrals more, as that could really make up for the decline on Google's side. At any rate, let me reiterate: this was awesome, and thanks to all who chipped in. If we get what we're working on off the ground in 2008, I think you'll understand why this was so important!

I don't know. For film it's already the standard. For music... maybe it'll become the new standard, and maybe it won't. It's not just a format or bandwidth problem, it's also a music production problem AND more problematically a problem of physical logistics. You've got tons of cars, headphones, etc. out there - infrastructure that has a way of staying around longer than you might think - and you'd be combating that. Furthermore... does it even make sense? 5.1, 7.1 etc. were developed AFAIK to enhance film/video specifically, adding realism to spatial effects. While that added dimensionality certainly CAN be applied to music, it's a little less intuitive as to what goes where when you're talking about a pop song. In most concert/live scenarios, the only things going on to your direct right and left or behind you are people smoking reefer or some obnoxious drunk frat assholes getting into a fight... personally, I'd rather filter that out, not go to great lengths to add it back in. Call me crazy, but I don't see 5.1+ becoming the standard for pure audio purposes - and by standard I mean the most common release format and listening hardware - for a very, very long time. From a certain perspective, it never needs to happen, and may never...

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I saw Joey D live... some badass B3:

How can I resist? Definitely planning on attending. Pretzel Meets Pretzel: Who Will Prevail?!

I'm a bit off-topic here since it's out of the price range, but I have TWO pairs of AKG K240s, and I swear by 'em. For the record, they're POST my "excruciatingly high pitch" period