djpretzel

I hope I didn't come off as trying to be unkind. I love the site, have for decades(!). If this site was still the 2000's orange design, I'd still use it.

With the forum and the comments being less used then back in the day, I think the main page could do with a reorganization. Moving the new tracks front and center, or something like that. Considering most of the community has moved to Discord, it probably wouldn't hurt to have a link for that somewhere. And Soundcloud is great and all, but the Jet Force Gemini album came out nine months ago but it takes up a ton of real estate. I suppose it looks fine on mobile, though I'm sure it could be more streaming friendly. 
Anyway, I suggest all of that without having any knowledge of future site plans, costs or the amount of time any of that would take. 

@RANDOMDUDE222 We actually built it ourselves, using Unity, so there's nothing *exactly* like it out there. Just as an aside, since someone else asked, we can't open-source it since it uses a bunch of third-party assets, and it's also very specifically tailored to our own needs. That being said:
https://store.steampowered.com/app/1026380/Overture_Music_Visualization/ https://www.image-line.com/fl-studio-learning/fl-studio-online-manual/html/plugins/ZGameEditor Visualizer.htm Those are a couple other options, and if anyone else knows some good alternatives, please share!

where does this site use thier visualizers? i've never seen anything this good on the net? if anyone can send me some hints as to what they use i'd apprecaite it.  dalekate90@protonmail.com

I'm blown away by this. Listening at the 5 minute mark, I can't remember how I got here but I loved every second of the journey. The way the track evolves and progresses so effortlessly is such a skill to pull off, especially as a collaborative project.
Overall it's an amazing track, but the standout part for me is the sound design on that shimmery synth that comes in at 1:00. It sounds like it's being bowed, and the increasing frequency on the modulation is handled perfectly. Absolutely sublime! Worth hitting replay just to hear that again.

I love everything about this ReMix, from the vocals and the story driven lyrics, to the amazing arrangement and guitar, even the sound effects going along with the music cues. This is fantastic and honestly a good musical representation of what facing Mr. Dream is like most of the time  (even if I oddly find him easier to beat than Sandman and Macho once you get the pattern down). Such a great song, man.

Well ladies and gents, it's the time of year again. The time when a group of ragtag remixers comes together and makes a Christmas album for everyone to freely grab and (hopefully) enjoy. This year, we're offering up 14 remixes of both traditional Christmas carols and video game songs, all done up to give that holiday vibe to everyone. So feel free to hop on over to the website and grab yourself a copy of An OverClocked Christmas v.XV. A big thanks goes out to Dyne for once again hosting the album, and to those who made the mixes this year. And of course, Merry Christmas from all of us involved in this project!
https://williammichael.info/aocc/

There’s no public access to the site’s Wiki, but if there are updates you’re looking to see, let us know.

You can do that for yourself, for your personal collection - absolutely, no one's stopping you, and why would they...
The key word here is "redistributed" - if you're hosting/mirroring portions of the collection for *others*, yeah, we want the files to be official & unmodified. If you're remixing them, that's no longer redistribution of the original audio, it's a different ballgame entirely. Conversion to OGG wouldn't make much sense (lossy to lossy?) - @Liontamerhas done work on silence trimming so if you find mixes w/ 10+ seconds of true silence (no signal), let us know here. The bigger no-no that we're especially concerned with would be modifying tagging/attribution, FYI.

I'm working on finishing the last track, then I'll be trying to send it back to staff.

I am working on this pretty actively, atm, so I'm hoping I'm able to get this out soon. Looking forward to providing the update when I get this back to staff.

Still really looking forward to this - I check every month!

Any updates?

@begoma I've been in contact with Brandon and we hope to put things behind us, make this the best album possible, and release something both OCR & he will be proud of - given that it's the third leg of a trilogy he started, I thought we should at least try to make this happen, and @Rexy has been helping make that possible. Right now mithius is working on some epic material that I know will elevate the final result - I still hope to release this year, and we'll be discussing timeline soon.
So, short version: Not dead, trying to work with Brandon to make something happen, stay tuned.

Sticks the landing. The progressive vibrato (i.e. baked into sample and not dialed in via controller, I believe) is doing a lot of the heavy lifting on the flute lead - from a certain perspective, I'm glad it's there, because otherwise the notes would just... sit. From another perspective, it comes in predictably, with the same envelope, each time... I think this could have been masked to some extent with some expression modulation (or if sample doesn't support, just modulating volume), but.... I'll live. I've certainly heard far worse, and the sequencing is lovely. Kudos for slowing the intimate, very cinematic (as @MindWanderer points out) piano bits down and giving them temporal breathing room. I don't really enjoy listening to the original, to be honest - I hear the promise, but it's on tempo rails and hits me wrong - but I dig this treatment, and found it engaging and well-conceived. Repetition/reuse wasn't flagrant, but in the future for extended passages you intend to repeat... just alter something, even if it's one interval, so we know you know, and to give the listener contrast... and, more importantly, to further explore the possibilities of the melodic line. Right on.
YES

Pretty cool developments here hey

@begoma I've been in contact with Brandon and we hope to put things behind us, make this the best album possible, and release something both OCR & he will be proud of - given that it's the third leg of a trilogy he started, I thought we should at least try to make this happen, and @Rexy has been helping make that possible. Right now mithius is working on some epic material that I know will elevate the final result - I still hope to release this year, and we'll be discussing timeline soon.
So, short version: Not dead, trying to work with Brandon to make something happen, stay tuned.

@djpretzelHey, thanks for the patience. I never got back in touch with @Rexy on my "The Way To The Top" mix.


 
What's the ideal cutoff date to gather and release everything? By Thanksgiving latest I can guarantee salvaging from a dead hard drive (or completely redoing/rebuilding) TWTTTop, but I don't wanna be a diva and halt this project anymore. We've all clearly wanted to get this out for years, and instead of holding up traffic I don't mind releasing my mix as a standalone sub since I’ve already contributed other tracks to the project, rushing isn't my forte.


 
It's not the amount of time needed for the mix, it's the fact I'm fighting an already dead hard drive and racing against a failing PSU.


 

 
All that aside, thanks a lot to staff for the patience with all us remixers and all the hard work in getting this project completed after so many years.


 

 
_____________


 

 
@begoma slightly offtopic, and this is EXTREMELY late (life happens), but hell yeah I'm down for the group collab if it's still on the table.

I would always recommend Komplete first, above all other mega do-it-all libraries/collections - Reason Rack *is* great, Arturia V-Collection *is* great, but Komplete feels the most essential and capable of handling pretty much anything.

We don't, or at least we try not to, but perhaps I'm confused about precisely what you mean... we may not be the "arbiters" of someone's creative direction, but we're each the owners of our own opinion/experience, which we can bring to bear when evaluating a track. If you're trying to say that only the original artist can evaluate whether a specific instrumentation or mixing/mastering choice makes sense, you seem to be taking issue with the idea of... evaluating ANY music, ever, unless... you yourself made it?
Our judges make every effort to listen on higher-end phones, but to be frank... the issue with muddy, somewhat overblown bass on your OTHERWISE AWESOME recent submission would have been noticeable on $10 airplane earbuds or the DT-880 PROs that I just listened on. I do not believe each of our judges need to list their headphones - when one of them hears something the others don't, that's when they need to get together and figure things out and potentially listen on different phones/speakers to figure out what's going on. In this case that wasn't necessary - we could all hear how awesome your mix was... and we could all hear that the bass was muddy and not sitting right.
This is necessarily going to be different for each judge. The nature of having a panel of different musicians/listeners with different, diverse backgrounds is that, for any given mix, some of them are out of their "preferred" genres or comfort zone, but the goal is to evaluate on some common principles. One of those principles is clarity - are parts discernible, or is there a situation where one instrument's frequency spectrum is cluttering the soundfield? That's a *fairly* genre-agnostic issue that will negatively affect dubstep, classical, jazz, and cha-cha alike, and that's exactly the type of issue we're dealing with in this case...
Yes. We all loved your track, for the tenth time It would have passed easily without the prominent issue with muddy low-end, and will pass easily once this is addressed. I don't know who wanted to hear what, but everyone enjoyed the mix... and everyone hears the issue. Your question is a bad faith attack on the judges panel, essentially accusing them of being biased against metal... and I mean.... we've posted a LOT of metal. And I damn sure hope we can post this particular metal mix, as well. Sometimes panel feedback can be less than ideal because it's contradictory - different judges might hear different issues, or prioritize different concerns. That's one of the worst outcomes from the evaluation process, because it doesn't yield the most actionable feedback. In this case... nah, that wasn't the situation. Everyone digs the mix, everyone hears the issue with the bass.
Thanks, legit appreciated. I assure you, though, we do get tired One of the things that's most tiring is bad faith accusations when someone doesn't take our feedback well on a specific mix, and turns that into a giant referendum on our overall process/staff. It doesn't happen THAT often, but it does happen. If you've listened to the mix in question on a variety of hardware and you don't hear an issue, we're kind of at an impasse - perhaps you could get a second, third, fourth opinion from others that you trust, and see if any of them notice the same issue? The bass is literally the only thing any of us took serious issue with, and all of us noticed it. Either we're all wrong, or bad, or listening on crap headphones, etc., or... perhaps there's ***something*** to our observation?
At any rate, once more for good measure: we all loved the mix, we all heard the bass issue. I don't believe this observation reflects poorly on the judges panel - if anything, it's an instance where there's unanimous agreement about a single, actionable issue... which is actually a pretty good outcome, if music's going to be evaluated at all...

@begoma I've been in contact with Brandon and we hope to put things behind us, make this the best album possible, and release something both OCR & he will be proud of - given that it's the third leg of a trilogy he started, I thought we should at least try to make this happen, and @Rexy has been helping make that possible. Right now mithius is working on some epic material that I know will elevate the final result - I still hope to release this year, and we'll be discussing timeline soon.
So, short version: Not dead, trying to work with Brandon to make something happen, stay tuned.

@begoma I've been in contact with Brandon and we hope to put things behind us, make this the best album possible, and release something both OCR & he will be proud of - given that it's the third leg of a trilogy he started, I thought we should at least try to make this happen, and @Rexy has been helping make that possible. Right now mithius is working on some epic material that I know will elevate the final result - I still hope to release this year, and we'll be discussing timeline soon.
So, short version: Not dead, trying to work with Brandon to make something happen, stay tuned.

@begoma I've been in contact with Brandon and we hope to put things behind us, make this the best album possible, and release something both OCR & he will be proud of - given that it's the third leg of a trilogy he started, I thought we should at least try to make this happen, and @Rexy has been helping make that possible. Right now mithius is working on some epic material that I know will elevate the final result - I still hope to release this year, and we'll be discussing timeline soon.
So, short version: Not dead, trying to work with Brandon to make something happen, stay tuned.

@begoma I've been in contact with Brandon and we hope to put things behind us, make this the best album possible, and release something both OCR & he will be proud of - given that it's the third leg of a trilogy he started, I thought we should at least try to make this happen, and @Rexy has been helping make that possible. Right now mithius is working on some epic material that I know will elevate the final result - I still hope to release this year, and we'll be discussing timeline soon.
So, short version: Not dead, trying to work with Brandon to make something happen, stay tuned.

some really stellar originals here. also the track clips a bit, a little more than a db, but it's not audible as far as i could see.
there's a ton of great stuff here. there's lots of shifts of style so it doesn't feel the same for six minutes, there's lots of use of acoustic and electric guitar alternately, there's some double time stuff, there's lots of interesting backgrounds in the synths behind the (featured) guitars, and there's no really awkward transitions where something just feels weird. there's scads of arranged melodic content, so nothing to worry about there either.
the drums are a touch loud (which is a stylistic consideration for the DJ set idea, vs a standalone track, so i get that). in the first few minutes i also felt that the lead guitars were a touch loud as well, and the ending's guitar delays sound a bit weird. but the whole thing sounds so clean that i can't really complain - it's all very intentionally handled and it sounds great. easy yes by me.
 
 
YES
 

this is a great original track! i've never even heard of this game. lots of playing with time and downbeats, and a big scalar run which i love in chiptune tracks.
sfx opening into the traditional slammed keys and kit sound of lofi. the melody's obvious right away, and i like the chopping done to it. the full melody comes in at 0:30, and sounds great. i like the addition of strings to the big ascending scalar run. beat and bass are good too and the vocal sample isn't obnoxious (i don't like vocal samples in downtempo and lofi but i get it's part of the style).
there's a break at 1:23, and when the drums come back in they're doing something new, which is nice. at 1:47 we get a new runthrough of the melodic content, and there's some new synths and a countermelody being used, which is great. there's an outro around 2:40.
this sounds great, has a lot of melodic content that's mixed up in different ways, and does a good job adapting the track to the genre. nice work.
 
 
YES

I found this to be comfortably above the bar. The guitar performance is incredibly tight, and Psamathes adds a ton of character to the sound palette. As always, I love your ambition with changing up rhythm at a moment's notice while never feeling like you're just tacking disparate concepts together without any glue between them. The mixing felt serviceable and never obscured my ability to hear anything important, even if the frequency balance felt imperfect. 
YES