djpretzel

Should be fixed, thanks for reporting.

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.

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.

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!

A little conservative in instrumentation and overall style, but thoroughly embellished with additional ornamentation, fluid temp fluctuations, and of course a nice live trumpet solo that adds a lot. Certainly keeps the feel of the original intact, but also explores permutations & enhancements sufficiently. Nitpicking, I'd say there could be even more ebb & flow to the tempo & dynamics, because it's the type of composition that leans on that "swaying" aesthetic, but that's tough to sequence, and what's here is good. YES

Well-deserved - great album!

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!)

@Silverpool @Liontamer Thanks for bringing this to my attention; Larry had provided an updated torrent, but I hadn't yet gone live with it. It's up now, but the old one is still seeding as well until it dies out by attrition, since we get most of our seeders from the initial album release announcement(s).

Gets more interpretive as it goes, from an arrangement perspective, and I totally dig the soundscape - Drew kinda inverts things by putting more verb on the bass than many other elements, so it sits back in the mix as this dope, mellow lurker, while foreground textures seem closer. Chiptune & glitch elements are excellent; especially love how even individual notes within a line will mess with panning & jump around a bit, adding life to each passage. Mix does kinda just end, and in this case I wanted something a LITTLE bit more, even a surprise extra note or beat, but it's a nitpick - as others have said, this is classic halc, plays the arrangement relatively close but definitely breathes comfortable in its own skin, and packs in those classic 9-bit flavors we've been missing. YES

@Chimpazilla While Impact Soundworks have a pretty good tin whistle, too, this was Ilya Efimov: http://www.ilyaefimov.com/products/ethnic-winds/irish-tin-whistle.html

@HoboKa Can you try logging out & back in and seeing if that fixes the issue? I've seen it a couple times but it went away after an authentication cycle...

Yeah to echo what @Jorito said, there aren't too many variables: If you have 1/4 headphones, try plugging them directly into the 1/4 outs of the Korg/Yamaha, just as a sanity check. Assuming that test succeeds, there are only a few buttons on the Behringer that could be messing you up: Try the "to main mix" buttons like Jorrith said Make sure level knobs are up If the mixer has a software interface, post a screenshot, and/or a photo of your hookup If the mixer has a software interface, make sure the line inputs are enabled, NOT muted, that no other inputs are set to solo, and that they are assigned to main mix

Awesome progress, @Darkflamewolf. FYI, I put some time in and have a solid minute; will be fleshing it out next week!

All of Wave Alchemy's stuff is good, BigKick isn't that bad, Kick 2 is better, and I actually have D16's PunchBox, which I like.

@Ringworm128 You don't really need to; Super Audio Cart runs in Kontakt or Kontakt Player (free), which are VST plugins that run within FL Studio, so there's no need for Rewire, which is a bit messier.

@Rozovian So last year we filed a 990-N, because we're under the $50K limit and had only been a 501c3 for a grand total of one month & change, in 2016. https://www.irs.gov/charities-non-profits/annual-electronic-filing-requirement-for-small-exempt-organizations-form-990-n-e-postcard For our 2017 taxes, I'm planning on doing the full 990, which does spell things out more explicitly. We need to amend our bylaws, get those online, and check some other boxes, but information like you're requesting WILL be made publicly available in Q1 2018 when we go through this process.

@Patrick Burns is correct, for the record - we weren't planning on explicitly keeping track anymore, just enabling it for the whole channel. Stating consent here has the effect of voicing support for that plan, but that plan would enable everything, for all videos. Given that YouTube apparently can enable this at will, and given that tracking each & every artist preference could get.... elaborate.... especially with collaborations, the idea is that the content policy itself does and would cover this, across the board. It's an important distinction/clarification.

#1 was a legitimate misjudgment on our part - my part - as to the timing of going live to get basic metrics vs. a full roll-out, and how that would be perceived; I'd need to review the full thread again to remember if I apologized for that misjudgment, but if I didn't, I do. A good faith assumption was all it took to understand what happened, and we didn't get a good faith assumption from some folks, but ideally we wouldn't put ourselves in a position to NEED a good faith assumption #2 never made any sense to me, personally; whether we pay for YouTube or not is irrelevant. That's basically saying you should only run ads on the platforms that represent an expense to you, and only use revenue generated on any platform to pay for that platform, and nothing else? That's NEVER been true, because even a decade ago, when it was just banner ads, we used funds for promotional runs of physical albums as prizes at conventions.... so that's using web ads to pay for something not strictly related to web hosting. This conceptualization of funding & expenditure is very odd/rigid/limiting... #3 is worth talking more about, I think. We have no intention of ever enabling unskippable ads, so those are off the table. #4 tell me about it...

Hopefully we can avoid a repeat of the drama that occurred on a previous thread discussing this matter. On Tuesday of last week, all videos on our channel mysteriously had ads enabled without any action on our part; previously ads were limited to a small percentage of videos from artists who had opted in, so we could get some metrics. We have disabled all ads as of today, including for videos that previously had them enabled. This batch change is currently processing on YouTube. We did inquire with YouTube/Google as to how this change could have happened, as none of us made it directly or intentionally, but they couldn't help us: It's difficult to understand how an entity so large wouldn't track such actions on a per-user basis, but it's apparently the case. TL;DR; what's changed since the last time we had this conversation is that OverClocked ReMix is now a project of Game Music Initiative, Inc, a 501c3 non-profit charitable organization... We've got a board of directors that has met three times this year, we've got separate bank accounts that are not in my name or included on my personal income taxes, no single individual can sell the domain or its intellectual property, and there are legally-binding rules about how the money can be spent, and for what, above and beyond the existing content policy. While the ads were not enabled intentionally, we waited to hear back from Google before disabling them, because we wanted metrics for the entire channel being ad-enabled and because the original plan was to wait for 501c3 status and then revisit the topic. Our submission agreement has always allowed for advertising in the context of mixes, so long as that revenue is used for the site: Originally this change rubbed some folks the wrong way and there were heated words about how YouTube ads were somehow profoundly different than website ads; I'm not sure if anyone still feels that way, but either way, "context" is an umbrella term that was never intended to be limiting. The Internet changes and we need to change with it, as best we can. So, basically: We have removed almost all ads from our websites. We only want to run promotions for VGM & related stuff that's relevant, and keep that minimal and non-intrusive. Right now, GMI & OCR are funded primarily by our support on Patreon (you gals & guys are the best!) However, I've never been comfortable with a single point of failure, and feel like YouTube ads are a good secondary source of support. From the last week of metrics, full ad-enablement on YouTube adds up to about $25 a day, give or take. For any one artist, myself included, this would be less than a dollar a month. In addition, YouTube ads *apparently* help SEO and enhance the visibility/reach of the videos, which is important. I'd like to reach a point with artists where we've built enough trust, through our words and actions but also our new legal status, where this change is understood and appreciated, but we should by all means continue the conversation and see where it takes us. We previously committed to: Filing for 501c3 status in this calendar year. (DONE) Updating the content policy with clarifying language surrounding "advertisements in the context of submitted material" meaning more than just banner ads, with YouTube as a specific example. (PENDING) Reaching out to artists via forum email addresses, social media, etc. for additional feedback on this topic prior to enabling ads on the back catalog of 3000+ videos. (THIS THREAD + NOTIFICATIONS)

Yes, but to be honest I think we need to reevaluate having myself, @JJT, & @zircon as co-directors - what we really need is ONE strong leader to be a rainmaker, bother people, cut people, be brutal, be loving, and get things moving again. We'll put a call out in January & see what can happen. It's possible my time will free up but I can't count on that. The WIPs are promising and the project still needs to happen, we just need a single, willing & able mastermind!

Just like with SMRPG, figured I'd post this here since it's not officially a flood mix, and it's actually relatively liberal - the source itself should be pretty easy to identify, but there's an original melodic motif that gets a fair share of some time, and a bass solo section thinger, and... okay, I'll stop talking Here's my notes from the album itself: Title: "What the Ocean Taught the Forest" Song: "What the Forest Taught Me" (https://www.youtube.com/watch?v=i1ZVtT5zdcI)

OC ReMix Announces Official 501c3 Non-Profit Status as Project of Game Music Initiative, Inc November 24th, 2017 Contact: press@ocremix.org FAIRFAX, VA... OverClocked ReMix today announced its status as a fully-sponsored project of Game Music Initiative, Inc (GMI), a newly-formed 501c3 non-profit charitable organization devoted to the promotion of video game music as an art form. Established on November 26th, 2016, the mission of GMI is as follows: EDUCATE the world about game music as an art form, PROMOTE game music and game composers, RESEARCH game music and contribute to the body of free and open knowledge, PRESERVE the history of game music and archive relevant artifacts, PROVIDE resources for existing and aspiring game composers, PROTECT the right to explore game music through transformative works and assistive technologies, and SUPPORT any projects that advance these goals. OverClocked ReMix founder David W. Lloyd expressed his enthusiasm about this development and the need for such a transition: "For seventeen years, OverClocked ReMix has been a community effort, but has been owned by a single individual, myself, and not officially registered as a 501c3 charitable organization. Game Music Initiative was created to support this project, and others like it in the future, and provides permanent assurance of non-profit status while also enhancing financial transparency & operational continuity," Mr. Lloyd noted. "This transition paves the way for exciting developments ahead, makes all donations from US citizens tax deductible, and builds on the foundation of trust and long-term commitment that OC ReMix has developed since 1999." More information about GMI, including its board of directors, can be found at https://gamemusic.org. An FAQ is available and will be updated to address any questions surrounding this change of status. About OverClocked ReMix Founded in 1999, OverClocked ReMix (http://ocremix.org) is a community featuring thousands of free fan arrangements & albums, information on game music and composers, resources for aspiring artists, and a thriving community of video game music fans. About Game Music Initiative Established in 2016, Game Music Initiative (https://gamemusic.org) is a 501c3 non-profit charitable organization dedicated to the promotion, preservation, research, & celebration of video game music.

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

Hope we get a revised cut at this, because I was digging it... I'm also curious: is it possible SoundCloud is affecting the mastering/levels? Def. sounded a little over-compressed to me, but I know SC can have that effect sometimes...

Negan! I mean, it's silly, but if they could just do movies like this with BASIC competence, they could at least be fun... Maybe?