timaeus222

Haha, yeah. Mega Man is called Rock Man in Japanese. ;D And I think it was mixed fairly well!

Ah, but it'll be Bev's birthday too!

My parents kept leaving me at home by mahself so it woulda been rather hard to record myself and then be like, "uh... this camera needs to be higher, where's some big books and stuff D:"

That damn comma. I was hoping it was in Washington.

You only got 1 video? Ah well, it's Chernabogue, so I think it'll look awesome anyways!

A little boomy past the 4.5 minute mark, but other than that, this is awesome. EDIT: is it just me or is Chrono Trigger at 5:28 - 5:34?

In a hillbilly rodeo style. Someone should remix this. I dare say that no one could do it.

Rock for Mega Man Soccer. I see what you did there. *cough* Though I think I see a possessive in the game title. 4:26 - 5:00 was my favorite part.

Yeah, I get that, but I was judging based on the arrangement flow and dynamics with the time I had. Like I said, I didn't get the time to do that, but if I did, I would have. Lewis had more modern production, but what drew me in more with mike was the new time signature and the lesser repetition. I liked Lewis's too, but I thought it was closer of a round than it might seem to others. The gating contributed to that repetition for me. Besides, production isn't supposed to be the top criterion, so I put source adaptation (read: source transformation) above production.

Sometimes it seems like the vocals are out of sync with the guitars, but other than that, this is great! =D

The arrangement gets rather repetitive by 2:00. You need to change things up in bigger ways. I'd work on the drum programming as well. What you have right now is OK, but it's not really punching through enough IMO. The whole remix could also be mixed more loudly overall but it's not much of a problem. I like the concept. The arrangement is the biggest issue for me.

The acoustic guitar had less tendency to respond to the distortion with instability in the tone, so it gave you more control over what you could begin with.

To be honest, I actually didn't have the time to listen for both sources, but here you go: The leitmotif was changed to more heroic intervals, but I recognized it. I thought it was a pretty cool adjustment to the intended key, which is totally fine in general, as for example, Neblix changed both Plug Man (MM9) and Elec Man (MM1) to a minor key in Blackout Tower, and no judge felt like either source was missing. ChaosRayZero on YouTube said, "I was wondering where the Elecman music was when it hit me... Playing it in minor key like that was GENIUS!!! ^~^♫". It's basically a mood change with the source. Depends on how you take it, but I think it was a-ok. 0:03.51 - 0:05.94 = Source (0:14 - 0:22) 0:07.44 - 0:09.71, etc. =/= Source (0:14 - 0:22) <--- similar, sounds like a modal shift, same rhythm, but not close enough, IMO 0:19.55 - 0:22.04 = Source (0:14 - 0:22) 0:36.04 - 0:38.06 = Source (0:14 - 0:22) etc. Wherever that harp plays those notes.

Oh, okay. Yeah, I put one here: https://app.box.com/s/jvv3vo4g9s4oluosirev

Do you mean stuff like this, or something else? That was made using a Comb filter and its feedback knob, plus a ton of distortion. If you mean like ghost moans and stuff, the ones I have are pretty much all made with Comb filters for the metallic tone, then with random LFO panning and spacious reverb. EDIT: More stuff here. I have Platinum Percussion, and I think it's very well-polished. It actually inspired the Yu-Gi-Oh ReMix I wrote for the GB 25th Anniversary album.

Yeah, what's-his-face... Aaron Copland actually mentioned bass lines implying the underlying chord progression in "What To Listen For In Music".

Yes, because not every library is programmed to work fully with Kontakt Player for free, usually just the full version of Kontakt. Shreddage is compatible with Kontakt Player 5, however. Yeah, I'm sure I showed that to you earlier. =P

I think from many of the bass lines I've written, they tend to line up as fifths above the root, or fourths or major 7ths below the root on the note holds, and some other notes I just treat as passing notes. At least, that's how I instinctively hum bass lines.

When I write them, I make sure it's not crazy. Playing too many octaves is tiring, playing strange intervals the whole time might be too hard, etc. I try to hum a bass line to accompany a melody. Try doing that, and then writing out what you hummed. Tweak it a little until it matches the groove of the melody. With practice, that might be able to come naturally (that's what I do if I'm stuck). Generally if I want to check and see if it's 'good', I just think, could a normal person sing it, or play it? If not, what would they change to make their part simpler? Sometimes simple is good. Overall, it should fit the mood when you're done. EX: https://app.box.com/s/x19ibwfak65ni91jtbnr http://ocremix.org/remix/OCR01849 http://ocremix.org/remix/OCR02859 http://ocremix.org/remix/OCR02767

Me too!

Why not? You just use it like any other VST. Just locate it in your plugin searcher, and open it in your VST wrapper.

I somehow pass most games, but the one game that got me was Bug's Life (GB). There's one spot where I just can't jump over the damn gigantic mushroom thing. Couldn't proceed past, like, level 3 or something.

Will you keep rockin'? I dunno, I might call Bullwinkleshiz on that!

This is quite interesting. Not super heavy with the drums, so to me it feels kind of laid back, but the mallets and mega-distorted bass heighten the tension so it's not so low-key. Great take that makes use of what's available and makes it work!

Seems like the last few notes of the leitmotif are a little different, but the rest is exactly the same notes and rhythm, as far as I can tell. One of my friends sang that as a solo in high school.