Phonetic Hero

Can we be The Handsome Devils? The Devil is a recurring boss, and they're not all colors (Block Devil), so I think that counts as far as Mega Man references Plus, it's incredibly relevant, considering the members of our team

That sure is some heavy dubstep EDIT: lmfao, the first of the related tracks actually IS dubstep, and it's called "So High". That's some silly shit

Everyone keep posting this. Will loves it Also I can pretty much guarantee he'll be too busy to join

This is so, SO awesome man. I love how you tied all the themes together and made the LoS style more connected to the Castlevania games, as mentioned by one of the Youtube commenters. Awesome stuff man Also what libraries are you using, if you don't mind my asking?

Oh god, this is starting back up again...? Not sure if I'll be able to pull anything out in the next couple/few weeks due to current commitments, but I'll do my best when it comes time

I love this sort of thing dude. The first :20 feels really.. weirdly empty. And I get that that's sort of what you were going for, but this kind of empty is just disorienting. It could be the EQ on stuff, but I also have shit headphones at the moment. The percussion is in dire need of variation too, and the whole first half goes without any strictly high end percussion, which is very atypical. The piece would benefit greatly from some cymbals, gongs, hats, etc. The whole thing feels a little spastic and directionless at times too; even with cinematic music, there's some repetition of ideas or variations on them, especially if it's an isolated track (a film soundtrack as a whole has some wiggle room because it's got more potential for motif development). It sounds like you're trying to use that main percussion groove to tie the piece together, but instead it causes it to stagnate a bit rather than propelling it forward I really dig the percussive variation at 2:19, mostly because it reminds me of the Pitfall: the Mayan Adventure OST (my personal favorite game soundtrack). That section works great as a bit of rising action There's some nice complexity and texturing throughout the progressions, but don't be afraid to bring out a more prominent melody as well. Cinematic music gets a bad wrap for being non-melodic these days, and it doesn't have to (and in my opinion, shouldn't) always be like that. Just my two bits, hope it's helpful in some way

This is so fucking awesome BRB GONNA GO PLAY THIS WHILE DRIVING /crashes

The way I understand it, if there happens to be ANY conflict between picks, there's a coin toss to see who gets it. Because it's not fair for someone to get pushed all the way down to their last pick just because everyone else has the others on their list in a higher priority

Yep, I reordered and swapped some of mine too for less competition in general (took off Shade Man and Gravity Man). I'd like my first pick as well, and fortunately, only one other person has Tengu Man (Saturn) on their list, and it's their number 2. UNfortunately, his number 1 is Dive Man, who seems to be on quite a few people's lists But hell, considering the direction some of my more recent tracks have taken, I might just be a greater threat with Flame Man anyway Regardless of which of my picks I get, I'm ready to do some damage when this compo gets going

Next year, man... Also, jebus, so many people with Shade Man on their list

Turbo pause trick, yo

I'm probably gonna get started soon enough; Jehm was kind enough to bestow upon me a capture card, which I plan to use to stream mostly Super Metroid speed runs so I can make it on to/improve my standings on Deer Tier. I recently ran a 56:20 in real time, and had a Ceres escape at 44'54 (had these been recorded and submitted, would've been 36th in the world for the run and 13th for the escape) Btw, this is all part of a plan for a future musical endeavor

Haha, as far as I know, halc was definitely the guy to coin the term, but it's a lot more popular now than it used to be

Right, people are only giving separate names because that's how they want to be officially listed in the compo. The only reason to give a different name for the compo is if you want to be listed as something other than "NovaReaper" when Darke posts the mixes. If you were wanting to use your real name as opposed to "NovaReaper", that's fine, I think there was just some confusion as to why people were posting their names. Shadix and tunners want to go by their actual names when the mixes are released and voting happens, which is why they made the distinction from their forum handles EDIT: Also I thought MM1 was one of the easier ones... and MM3's end levels are hard as shit, haha

Well, 9-bit is when you incorporate chiptune elements into a song with more modern stuff as well (pretty much anything Ben Briggs does - I'd say halc too, but he's gotten into LSDJ lately... anything halc or Briggs have on OCR, at least ). Fakebit is anything that's not using a tracker or the hard/software of an actual game system to make chiptunes (this includes Genesis, SNES, etc.; anything that used a sound chip, not just 8-bit systems). So, the two may end up overlapping, or not; they're not *quite* the same. So, even though this adheres to the limitations of the VRC6 chip from the NES and uses waveforms sampled from the NES, it's still considered fakebit, because I made it in FL Studio rather than using a tracker (like Famitracker). Most of the reason for distinction is because the NES sound chip was actually 4-bit, which means it has 16 values for volume (0-15), whereas a modern DAW has many, MANY more, and because of little tics that are unique to the hard/software (for example, pitch bends and vibrato aren't as smooth when they're written in a tracker as in a modern DAW) No problem dude, hope that clears things up a bit!

You guys know this is only if you want your name to be listed as something other than your forum name... right? Also oh my GOD why can we not pick Punk/Ballade/Enker?! I just discovered Enker's theme from MM10, and it's a remix from Wily's space station from MMI... I HAVE to remix it at some point

This. No point in picking a shit source just to pick a shit source because *you're* the only one who has to remix it. You're only screwing yourself EDIT: also just realized that someone should do a team of Pirate Man, Skull Man, and Dive Man. ULTIMATE HIGH SEAS PILLAGE

Everyone needs this. It's so awesome

Now ya gone an' dunnit

I'm gonna go ahead and lay out some stuff about chiptune restrictions while I'm listening and it's fresh on my brain. Not that it's a bad track, just that it's not exactly chiptune limitations. Feel free to disregard if it's not something you're particularly concerned about, but I always liked learning about the restrictions of chiptunes All the synths sound like their layered in some way, which would use more than one channel. The triangle has another waveform on top right off the bat for extra clarity, but part of the charm of the triangle wave (in my opinion) is the quality it gets from the overtones and the lack of clarity it gets at lower frequencies The squares that come in for harmony don't sound particularly layered, but they do sound like they've been rounded off on the high end. Another bit of chiptunes that really makes them sound authentic is the high end being really present. There's even slight distortion on most authentic waveforms, which makes them sound really sharp instead of rounded off like they sound here. Also, worth mentioning that at this point, you're maxed out for channels with the standard NES chip before the lead even comes in 2A03 has 2 pulse channels, one triangle channel, one noise channel, and one DPCM (sampling) channel that was typically used for drums. There were quite a few different chips for the NES though, my favorite being the VRC6, which had two extra pulse channels and a saw channel When the lead comes in, it sounds like it's got an extra octave above it (with possible chorusing/unison on the extra octave?), which is fine, but like I mentioned, it's going to be using 2 channels (3 for chorus/unison) instead of just one. At this point, except for the saw channel, you've used everything that the VRC6 has, if that's the limitation you're going for I can also hear 2 separate noise channels for pretty much the whole track, 3 in spots. In just about every old game system, there's only one noise channel Not that it's a bad track at all, it's just not exactly a chiptune, and people in the scene can be real dicks about authenticity; I'm actually not one of them, I really enjoy 9-bit and fakebit, and I just thought if this is a route you want to take musically, a bit of knowledge might help get you going in the right direction Playing to the limitations can really help your composition and even your creativity with sound design, because you've got to outsmart the system, in a manner of speaking, to get a really good end product. Researching the hard/software of old game systems that you want to emulate can be enormously helpful too, I've spent my share of time on wikipedia reading through the limitations of different NES sound chips and have learned quite a bit about the gameboy chip from fellow chiptuners who are really into LSDJ Hope that helps!

You people need to come up with your own goddamn modifiers

Just caught wind of another stacked team joining up. This compo is going to be absolutely crazy. I'm so excited to see what everyone comes up with. Everyone will NEED to bring their A game to remain competitive

'cept that dangus ectogemia. SURE BRO JUST GO AHEAD AND PICK THE MOST OVERREMIXED TRACK FROM THE MOST OVERREMIXED GAME. God, idiot <3 <3 <3

<3 you guys Good, I don't even want it anymore. It's a shitty power

Me, Theory of N, and Hylian Lemon were talking about teaming up, let me confirm with them and then I'll post my picks EDIT: Got confirmation from both, let's rock this joint PICKS: 1. Tengu Man (Saturn) 2. Flame Man 3. Knight Man 4. Tengu Man (PSX) 5. Charge Man ecto and I have already started talking shit on each other. This is going to be fun