Dj Mokram

My comment was about Symphobia specifically. Like I said, you can build great orchestral pieces with Symphobia, but its core sound is more geared toward tension and ambiance. It's more about unsettling and atmospheric compositions rather than the usual symphonic/melodic orchestra. It's really a tool for scoring rather than for making music in the strict sense you were implying. The reason I recommended EWQL or VSL, was because they're the most affordable, widely-used, versatile and professional sounding in their price range. But if you've got the bucks to invest into Project Sam's Orchestral Essentials, have at it. While this bundle strips down the Symphobia content to its bare bones (which in this case means keeping the most usable orchestral elements), it also gives you a fantastic percussion tools in True Strike (that Symphobia was sorely missing), and also throws in Orchestral Brass for that extra Hollywood sound. It's also easily tweakable, readily operational with its various 'Multis' that put massive orchestral sound at your fingertips, and lastly the size is slightly more manageable than other similar libraries. Admittedly, you might not get every articulation on every instrument ever like with the advanced versions of VSL, but you'll get a solid sound out-of-the-box and a highly versatile orchestral library. Hope this helps.

Symphobia is definitely more geared toward cinematic, symphonic atmosphere. You can still build great orchestral pieces with it, but it's more useful for when you need to add a layer of uneasiness in your composition, and get that Michael Giacchino sound that gives extra tension to the piece. Lots of risers and trailer ready stuff for movie-oriented and movie-friendly composition. Since I suspect you're aiming for a more Zimmer-esque (or maybe Sakuraba-esque would be more accurate in this case) style, you're indeed better off with EWQL or VSL.

Look at you Pete! Getting all apocalyptic and stuff! Oh yeah, I can hear the Mazedude influences in there. It's funny because I always thought the soundtrack to this game was pretty minimalistic, but this arrangement is the complete opposite, with lots of glitching, jarring (in a good way) sounds and a clever mixture of electronic and orchestral elements. Deft use of sound effects, and excellent drum work for a remix that incidentally reminds me of The Glitch Mob at times. In any case, great job on the arrangement and congrats on the mixpost!

That would either mean paying large sums of royalties to game publishers or closing the shop. Having hundreds, maybe thousands of people using your personal site as their base of operation, and such a huge supply of user-provided content that cannot possibly reach its target destination/audience in a timely fashion, it becomes apparent that:-Mr Lloyd is NOT a Terminator. Yeah, I'm disappointed by the truth as well. -he needs help handling the vast amount of content delivered everyday by a grumpy mailman who broke his back carrying bags of remixes. -he should proly start delegating more responsibilities to his loyal and trusty vassals, as any sane feudal lord would have done in his time. Though this has already been discussed at length in this thread, so I'll close the parenthesis here. As for the paid membership... Last thing this site needs, is a way to further ostracize itself as an elitist club. It's hard enough reaching the gates of the OCR citadel as it is. Amen.

Uh? OCC has been happening every year like clockwork for the past 5 years. Though it only comes out on, well ...Christmas.Maybe Dyne should look into making 'an Overclocked Summer' as well, with remixes geared toward a beach/seaside thematic.

What's up Kumori? Been a while since those cool Ragnacenty mixes you did. Allright, so far it seems you're going for the same kind of interpretation, that's to say you're sticking close to the source material. It's roughly the same instrument palette too, which fits the happy feel of Tower of Puppet ...which always reminded me of the Rafflesia Training Grounds. So I guess it's a logical follow up to your previous work. ;P The thing that strikes me as problematic right now is the bright stab/hit that enters at 0:13 and continue playing the accents until 0:26. It's overpowering most of the instrumentation and really sticks out like a sore thumb. Aside from that, it's still more of a cover than a proper re-arrangement. I'd say you tend to make updates/upgrades of existing songs rather than ReMixes, because you're not putting enough personalization into the arrangement. Though if you're shooting for a straight cover, by any means, continue doing your thing as it's enjoyable nonetheless. With folks from around the VGM community we've made a tribute album to Dynamite Headdy called Secret Bonus Point. Might interest you. And as my sig shows, there's yet another fan album for a great Treasure game in the works, this time involving mostly OCR folks. Maegawa & co. left Konami cause they were tired of making endless sequels, and wanted to create unique gaming experiences that challenge the norm. It's safe to say by now that they've succeeded in that regard, and I hope you'll succeed in making your remix unique as well. Have fun and good luck.

MegaRan/Random made a Nintendo Power tribute song, sampling RC Pro-AM:

That's uncalled for, man. I wasn't trying to be mean, just to motivate Mirb to focus a bit more. OCR rules forbid anyone to co-direct multiple albums unless they've got a track record of doing so in the past. But I'm always up to help others in 'Recruit & Collaborate' set up projects and move in the right direction.

First you don't remember who send you wips and now you can't keep up with your own thread. This is quoted from page 7: I even did all the hard work for you. Try to keep it together Mirb.

This answers my question about whether the preliminary approval process remained in place. Thanks Stevo.

It's weird seeing the PM counter on top go past the 200 mark. Feels like we're in the future now.

This is confusing. Are you talking about accepted as in: "moved to the official projects boards" or as in:"published by OCR"?Because the G-doc mentions evaluation yet ask for finished albums (among other things). If you're now skipping the 'official status' eval, this would not only render the official projects section obsolete, but also imply that every aspiring director and his/her team needs to complete an entire project without feedback from the staff as to whether they're heading in the right direction, and risk getting rejected after working on something for months/years. A clarification on that matter would be very welcome sir.

Enjoy your Final Installment 7 HD Remix.

Just saw the PM cap was upgraded to 300. Tis a lifesaver. Thanks djp.

I don't really know the guy or his music, so all these precisions are welcome. Thanks Xenon.

I think there was already a topic called: "VGM with real-life counterparts", but I can't find it anymore... Yeah, people keen on source interpretation might be upset about it. But this is how sampling has always worked in hip-hop music. Legality of source usage is what concerns me, since this is a song from his latest album that also has an official music video and stuff. Video which I will not link out of respect, because it's unsurprisingly NSFW and in no way related to Chrono Stripper ...er, I mean Trigger. ;P Bottom line, he's proly making money off of SE's beloved property, most likely without being licensed nor paying royalties.

Happy beard-day Uncle Stevo! Let's do this right: Enjoy your cake but don't forget to take your vitamins so you can reach Lv100 someday.

No, I'm sure others feel this way too. Atm, the main reason why getting posted after passing the panel is taking a long time, is because every single mixpost (including the personalized write-up that comes attached) is being handled by djpretzel himself. Obviously, he has a life and can't possibly dedicate his days to posting remixes. But while this is part of how the site has been operating for years, and a form of final approval over the content that hits the front page, I'm sure a lot of people have also been wondering why this archaic tradition has to remain in place, especially in light of the staggering amount of entries now to be posted. I believe this custom is starting to show its limitations in face of the growing popularity of OCR. Why are new judges and moderators being hired regularly to help tackle this formidable workload, yet posting remixes remain solely in the hands of djp? Surely high-ranking or veteran staffers like LT, Darke or OA could help Mr Lloyd with the onslaught of TBP remixes. My 2 cents.

The Glitch Mob - Between Two Points

PM'd you Pete. Got your update and sent you some feedback. I'm drafting an updated OP to streamline things and add a few details. Should be up soon. EDIT: OP updated. Only 5 tracks left to claim.

Topping this Hamauzu-Yamazaki masterpiece is out of my reach. Good luck to whoever wanna try but I'll have to pass.

This round was intense, packed with talented people and awesome tracks. The length of the listening party was a challenge of its own, but so worth it. Whoever came up with the 'partybot-stream' combo deserves a medal. We couldn't have survived the onslaught of entries in a timely fashion without that.

Sounds good. Let us know whenever. Yeah, I didn't wanted to go the 'mass PM reminder' route, but in light of this, I might. And best of luck with your intense schedule. Wait, do you mean you've lost the entire project file for your mix?

Have a good one, sir.

Sounds like the prefect excuse for me to finally arrange Boundless Network from BN1 and Last Battlefield from StarForce.