djpretzel

Agreed. It's not just that it sticks out, but it's also the sole percussive element, and it's a pretty static part, and it feels quantized & flat in its dynamics. It's a production problem AND an arranging problem, to me. I wouldn't reject the mix solely on the tambourine, but since I also agree with the above comment on transitions, I feel like those are substantive "dings" that combine for me to vote: NO (resubmit) I tend to err on the side of approval when splitting ties or weighing in on divisive evaluations, but there's not really a compelling point of policy here - this is just a question of whether you feel like the abrupt transitions AND the stale tambourine add up to warrant rejection, which I do. I think the tempo here could be bumped 2-3 bpm, the tambourine part rewritten for variety/dynamics, and a couple of the more jarring transitions eased into (one way or another), and it'd be fantastic.

Lovin' that theme - gotta be @jk, right? Looks like a lot of fun.

@Meteo Xavier Thanks for stepping up - any issues with @Rexy as your co-director & channel of communication to staff, since she's a newly-appointed judge? If that works for you, we'd love the help. First order of business is verifying from existing artists w/ finished tracks that they're okay with releasing under new management. Don't want to make any assumptions. Second order of business is wrapping up any WIP/unfinished tracks and getting the music to 100% Third order of business is pursuing album art that jives with FF3 but also the first two albums, FF1/FF2, since it's basically a continuation, even under new leadership After that, it *should* be mostly crossing T's and dotting I's - director & artist comments, flood picks, etc. Sound good? @Gario & @Theory of N are helping with overall album coordination, tagging them so they're aware. Would love to see this happen this year, but more important that it does indeed happen!

@Gario Yeah that's basically it - we only do artist bios if the album website decides to feature them, which is less common these days. Track comments ALWAYS good. BTW I've got 1'30" on my mix and do hope to finish it shortly!

At first I thought this was a joke thread, but I suppose these mini consoles are moving enough units that it makes sense. The Japanese lineup seems preferable, although Ninja Spirit was (and is) a pretty amazing ninja/platformer style game. Bonk's Adventure was one of the most popular games on the console in the US, so perhaps its absence is due to competing copyright ownership... or they're just sitting on the announcement so they can generate some more buzz.

Definitely digging this, and as a fan of all things Goonies, I love the mix title. Wonderful space/reverb differentiating the parts; still plenty of clarity & crispness. Hope you submit!

Aight I got like a minute of something that resembles retrowave, and I'm gonna stick with it, cheese guitar solo & all ::)

Hey I opened Ableton and... thought about the arrangement, for at least ten minutes It's something! The easiest, fastest, and most fun approach is to turn my relatively sad/somber source into, well.... something funky, and even a little disco.

The electric guitar's harmonic distortion feels strangely static; for an effect that's supposed to channel a certain amount of living chaos & motion, it struck me as odd how it sounds the same when repeated. ...but that's the only bad thing I can say Absolutely wonderful, pleasant, slower interpretation with some sublime details on the individual parts. This is very much how I want to hear this theme YES

Apologies for the delay; I honestly don't know which way to go on this one. It's VERY arguable on the "recognizable use of source" angle - *unless* you speed it up, it is... temporally challenging... to track the notes, over such durations, and connect them to the source. That being said, since I am uncertain, I believe we should err on the side of an expansive & inclusive definition of source usage. I *could* see this mix being removed in a future lockdown if we need to reel things in and determine that accepting this arrangement marked a "point too far" in terms of the threshold for this particular consideration, but I don't want to hold things up any longer, I'm curious to see fan/community reaction, and in all other regards it's a mesmerizing & quite creative piece of music. YES (possible future lockdown candidate)

We're proceeding with this action for all videos and will see how it goes; we are equally concerned about diversifying support for the site AND also the promotion/marketing angle, since we believe YouTube highlights monetized content more aggressively (or, if you prefer, tends to de-emphasize non-monetized content)

Not only endorsed, he personally oversaw the implementation of our patented Bus Allocation Determination & Tailored Universal Normalization Algorithm.

Very sad to hear this @Txai, but thank you for sharing it with us. As with Avien, Reuben Kee, and others, it hurts deeply when we learn of someone who contributed to the community passing, especially at a younger age.

Thanks to all artists for being patient with us & trusting @prophetik music's leadership on release scheduling; we took a bit longer, yes, but the music & presentation did benefit. Very proud of this release; Arcadia Legends was amazing & you've followed it up with something amazing, and kicked off 2019 in Q1 in a *great* way. Special shout out to @Jorito for musical AND code contributions, too, as he provided a very complete website which we only tweaked minimally... really helped. I wanted to somehow animate the caustics that were added, but ran out of time for proper implementation. Credit to all, but extra tip of the hat to Brad for effective coordination & responsible/thoughtful direction... as with DFW & our previous album, I feel like communication was always effective & deliberation productive. I didn't play Chrono Cross, but I've known & loved its soundtrack over the years, often through mixes featured on the site. Now I love it even more; there's an organic, passionate vein that flows through Chronopolis, but with individual tracks still distinguishing themselves stylistically & through genre. It feels diverse in form, but unified in function, and that's something I personally enjoy in an arrangement album, because it's something I *also* enjoy about many game soundtracks themselves. There are moments of awe, moments of wonder, moments of beauty, moments of joy... with each emotion expressed in a fashion that serves it quite well. Excellent stuff!

Digging this! Flute harmony part at 2'05" sounds a *lil* weird but resolves at 2'08" with the change. Definitely has that vintage VGM feeling of being aloft, in the clouds, in - what else? - an airship

Excited to revive the momentum and glad to be on board! This album WILL be released in 2019!

@Pipez The Recruit & Collaborate forum is your best bet (https://ocremix.org/community/forum/29-recruit-collaborate/) Basically, staff rarely run albums themselves - most albums are started by artists or individuals interested in seeing X game or concept realized; for more obscure games, that can mean having a smaller scope & staying on top of deadlines, cycling requests out, etc.

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@His Infinite Machine This issue has been resolved and the mirror should now be functional; many many thanks to Robert, the mirror's owner, for his assistance.

I've got Bitwig, but haven't really put it through its paces. It definitely holds its own, and the modularity of the environment is awesome. A couple other bonuses: It loads VERY quickly, It scans & detects new VSTs in near real-time, and... It has best-in-the-industry sandboxing of VST plugins, where a plugin can crash, disappear, then reload itself all while your song is still playing, without crashing the DAW. If I'm just wanting to load a VST quickly to mess around, Bitwig is my go-to now, because of the above. Still wanna wrap my head around it enough to actually make a complete song, but I'm thinking B3 will be a good incentive.

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I always liked the first verse here, in particular; fits the melody like a glove, angsty-but-still-interesting... good stuff.

Because this situation might recur, I'll outline the specifics: PRS for Music (https://www.prsformusic.com/) issued a DMCA takedown for a ReMix by @Beatdrop Dreamhost removed the mix and notified us... ...however, our automated process to synchronize mirrors put the mix right back where it was, and Dreamhost subsequently shut the whole mirror down I am in the process of issuing a counter-claim and checking with Dain to see if there's any reason this company would have issued such a claim; even if there is, our content policy grants us license to publish/distribute and supersedes any subsequent agreements re: exclusivity. In the meantime, the mirror will remain down

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What did you think? Post your opinion of this ReMix.