Dj Mokram

Give Dead Space some luv will ya. Also, I second Amnesia The Dark Descent. This will give you some sweet, sweet nightmares...

From the top of my head (proly forgetting half of them): Ace Combat IV & V Arc the Lad III Bonic Commando 2009 Breath of Fire III Contra III / Super Probotector Dead Space 2 Demon's Crest Devil May Cry 3 Dragon Ball Z - Super Butoden 2 (SFC) Fallout 3 Fantasy Zone 2 - Tears of Opa Opa F.E.A.R. - Perseus Mandate Final Fantasy VI & XII Front Mission 3 Gradius III and Gradius V International Superstar Soccer Deluxe Megaman 2 and Megaman Zx Advent Metal Gear Solid 3 and Peace Walker Rage Racer Raiden III Resident Evil 2 & 4 R-Type III - The Third Lightning Secret of Mana (Seiken Densetsu 2) Shinobi III - Return of the Ninja Master SnK vs Capcom 2 - Millionaire Fighting 2001 Sonic the Hedgehog 2 (master system) Splinter Cell 3 - Chaos Theory Street Fighter II and SF III 3rd Strike Streets of Rage 2 Super Castlevania IV and Order of Ecclesia Super Metroid & Metroid Fusion Syphon Filter - Dark Mirror (psp) TLoZ Links Awakening and TLoZ The Minish Cap Thunder Force IV Wonderboy III - The Dragon's Trap Zone of the Enders - the 2nd Runner *braces himself for impact*

Don't forget to take revision costs into consideration. There's very little chance people will say amen to the very first iteration of each song you present to them. So it's up to you to determine if you wanna include that in each song's pricetag or treat it as a separate cost. Depending on the scope of the projet/studio size, you can for exemple offer a certain number of revisions for free, then charge extra if they exceed that threshold. Like everything else, simply discuss it and clarify things before signing your contract. In a similar fashion, do not overprice yourself by asking for 900$ per minute if you're working for a small company or independant developper. That would be overkill. Sometimes, it's better suited to try and cut a royalty deal on sales rather than clumsily trying to push for the big check up-front. Best of luck.

Having finished the jap import version a few weeks ago, here's a few pointer as to what to expect. And don't worry, this will be spoiler free. The 3rd Birthday, much like PE 1 & 2 is a pretty unique experience, in that it only takes the basic concepts/main characters and create a completely new game. They gave Aya her anorectic look from PE1 back, with the familiar (yet refined) weapon loadout, but minus the body armor/vest and tool customization. Biggest change is in the Parasistic powers which are now handled by tweaking your own DNA with Materia like orbs that you have to combine in order to create more powerful or completely new abilities. But aside from one particular ability, there is no way to 'use powers' like in the previous games. They're more of a latent thing that activates when you meet certain conditions in battle. The main focus of the gameplay has been shifted on typical run & gun play (including suppressing fire, evasive moves and mid-height cover) and Liberation, which is Aya's very own Limit Break. The best and most honest way I can describe how this third game in the serie feels is: it's Prototype meets Chaos Legion and Gears of War. I cannot elaborate on that without giving spoilers so I won't. This chapter in the saga is really the result of intense west-washing aka the desire to appeal to western audience with military focused action. But the fans shouldn't worry, as the basic setting and elements of the prior games are still in there somewhere. They're just hidden under the top-notch chara-design, the 'through-the-roof' prod values and the stunning cutscenes. ;p At least Yoko Shimomura brought back the A-game with a fantastic soundtrack full of beauty, scares and of course familiar tunes as well. Oh, and one very important thing before you guys play the game: Contrary to what it seems, Aya has not been given the 'Metroid Other M' treatment. Do not let Aya's voice acting / seemingly wimp-personality ruin your experience. There's a reason for this that will be explained during the game. Enjoy your third birthday! (or your first if you're new to PE)

Just so people realize you're not kidding: There might also be risk of nuclear plant accidents, which could potentially be really disastrous. Good luck to you Chipp and to everyone who's on site right now.

Apparently, resistance is futile...and cost you lotsa monies.

You can almost hear the delightful sound of german police kicking down your door already. Ahhh, Sony... QFE ...or for comical effect, I dunno.

What Stevo said.And a happy birthday as well.

Cool guitar solos in there. This one made my day, thanks for sharing. Also, props for giving Phantasy Star some much deserved coverage (albeit it only seems to be for the third chapter here). So, if I read that info correctly, you've made 50 Sega Genesis remixes ...all on your own! How long did this project took you to complete? Pretty interesting tracklist for sure. Looking forward to the outcome.

The sound is a bit too gentle/simple/round atm. Try to craft something more complex/convoluted.With multiple oscillators and by manipulating the VCT and LFO controls, you can give your synth an extra layer of thickness or a even controled dirtiness. In a way, both. Subtle reverb should take care of the dryness, and I guess you could also vary the drum patterns a bit more often.But like I said, it's a personal bias. Take that with a grain of salt.

An amazingly-happy birthday to two amazing musicians!

For some reason, this sounds like a dark and terrifying place, full of ...crab mobs?Also, congrats on surviving so many episodes guys!

Dynamite bump! 3 open tracks remaining: , and Check the OP for specifics on what genres/moods would be best suited for these sources. Post here or PM me to claim a track. Hopefully we'll be able to complete this project in 2011.

QFT. Season 3 was great and the 'psych-eval' finale was simply brillant. Aaha, product placement strategy for the WIN! Lucky you LAOS. Have fun witnessing the action from the safety of da kitchen!

Sampling Master Aya aka Ayako Saso - Atomic Wave (from the Prismatic Solid soundtrack)

How in the world does 'videogame characters flying through rings' (blatantly plagiarizing NIGHTS in the process) translate to 'spanking the nice lady on the butt'?! I don't even...

I see what you did thar! Oh, hello Gunstar Heroes medley. What are you doing hanging by yourself in the workshop? Glad to see some more luv for Treasure games. Nice intro build-up here. The source is well introduced. Unfortunately, from 0:37 things get a bit more problematic. For starters, that synth brass isn't very good. It's ruinning all the hard work you've put into making the listener anticipate the hard hitting core of the source. Second, the first part of the mix (Stage 1) is overwhelmingly mid-high heavy. I believe that's because all the instruments started to converge toward the same pitch level/frequencies all at the same time at the 0:37 mark. Kick drum isn't gonna be enough. You've got to lower your bass one octave to give the lows some much needed presence. Then lower the volume/velocity on that bell thingy, which borrow too much space on the high-end, working against the lead. Things get less crowded from 0:56, which is somehow better. However, that's where it quickly becomes apparent that without extra attention, the sound design can (and will) drag the piece down. That 'msn messenger-like' bell is clearly out of place with the rest of the instrumentation. Furthermore, the part from 1:10 to 1:20 is a bit of a void. It's like half the instruments suddenly went for their lunch break or something, leaving the bare skeleton of the track exposed. Now for the second part. First off, kudo for having the bollocks to tackle SEVEN FORCE. That's probably one of the few holy grails of Treasure's music among fans, which means it's also the kind of source you cannot aford to mess up. I like that 90s, Bare Knuckles vibe, with some nice attention to panning. The voice thing (let's go) could work wonders, but you need to drop the beat for one or two bars and make that transition a little more dramatic, build tension around it. In comparison, your sound choices are more fitting than in the first section of the mix. The instruments work better together, the frequency spectrum is broader and there's more attention to the soundscape overall. The reprisal at 2:00 might need some added textures and dynamics, and although the inclusion of the stage 1 melody was a good idea to begin with, there's a slight detuning between the lead and the other instruments that sounds jarring. Also, that foreground-background cycle with the riff feels a bit awkward somehow. For the last part, I commend the use of in-game sound effects, which is a nice touch. Wasn't sure if you were referencing the Stage 4 (Black) theme here. Had to listen to both the Genesis and GBA version of the soundtrack to make sure... Golden Silver's theme (Stage 7) seems to be the closest thing from the sound of it. The drums sounds/patterns are starting to get old at this point, but the harp/chimes are cool beans this time around. However, this part isn't polished enough yet, appearing as more of a filler that serves the purpose of artificially extending the song another 30 sec or so. Ok, time to wrap up this wip review here! There are some cool ideas overall, and nice attention to details here and there. But on the other hand, you've got to watch out for some obvious sticking points (EQ, sound design) that are dragging the piece down atm. Arrangement is still a little rough around the edges with a composition that stays stubbornly conservative at times. You should take a bit more risk and see where that leads you. Like Professor Brown used to say to Red and Blue: Best of luck with this one, and keep it up (CJthemusic)dude.

This is as close as it's gonna get for now.

For those interested, The 3rd Birthday runs on pretty much the same engine (i.e. w/ more or less the same issues). The exception being that the latter is drawing heavily from Prototype as well. West-washing at its finest...

If you wanna take advantage of this you ought to switch your track status to 'Mod Review' instead of 'Finished'. Well if it isn't good ol' Jesper Kyd's work right here. Always cool to see people tackle lesser known games like this. Might have been helpful to quote the judges crits, so people have an idea of the directions you've followed to improve. Optionally, a link to the old sub would help the mods to evaluate whether or not you've adressed the concerns expressed by the panel. Imho, as far as source is concerned, you've covered the material pretty generously. Interpretation is tight and engaging for the most part, and composition is fairly intricate. Oh, and: damn, you can rawk man! xD Now for the crits: -support sequence-synth at 0:42 and 1:58 might not be sofisticated enough for that type of song/atmosphere. Try to switch to something more incisive/less round, sound-design wise. Though when the synth is accompanied/doubled by the guitar from 2:09 to 2:28, it flows much better. -the song is very rhythm (guitar) heavy and sometimes the lead gets buried/relegated to a subsidiary role. I know the reason for this, and have zero problem with it. But some people might snap if you forget to properly abuse the lead tone. Couple that to a fairly complex track construction, and you can loose some listeners along the way. Again, I'm perfectly fine with the song being done this way personally. -part from 3:30 to 3:40 is a little underwhelming. It may be too simple and/or repetitive in comparison to what's before and after. Maybe removing those 10sec and jumping straight from the build up ending at 3:30 to the finale at 3:40 would help preserve momentum. -overall, the drums are a tiny bit dry and straight forward for what you're going for here. But that's just a personal bias on this one. Hope this helps. Now I'll let the shreddage experts chime in on the specifics.

QFT.The original Assault Suit Valken from 1992 is indeed very underrated (both the game and its soundtrack). The stage 1 theme, , is an intense mix of classic synthetizers, stage percussions and live electric guitar for the WIN.But Masanao Akahori composed other amazing songs such as or . And don't get me started on which I can only describe as a timeless gem.So yeah, lots and lots of potential for creating awesome arrangements here.