AngelCityOutlaw   Members

I think I've gotten decent at countering most of the annoying characters. Hate Mei, though.

 

I prefer my music at 24fps, anyway. 
It's more "cinematic" that way
*adjusts hipster glasses*

I prefer my music at 24fps, anyway. 
It's more "cinematic" that way
*adjusts hipster glasses*

I prefer my music at 24fps, anyway. 
It's more "cinematic" that way
*adjusts hipster glasses*

I prefer my music at 24fps, anyway. 
It's more "cinematic" that way
*adjusts hipster glasses*

Here's something interesting
http://gamerant.com/overwatch-stats-website-wins-kills/
From a sample size of 800,000 players, Symmetra tends to be on the winning side the most with Torbjorn being 2nd. Mercy and McCree being the lowest.

I'm actually going to have to disagree a bit with the notion some have that a better sample library won't do you any good unless your orchestration skills are better first.
It's hard to practice that unless you actually have a sample library that has a lot of articulations and is capable of making something realistic. For example, you will never be able to create a truly realistic sounding, expressive violin melody without legato, portamento, marcato, etc. Players generally don't play with just one articulation (a simple sustain in most crap libraries) throughout a phrase and playing with the envelope usually doesn't produce as satisfying results. 
If you know this, but your library only has something like sustains and staccatos, you will likely avoid writing melodies that use shorter notes because you'll notice the staccatos are too short and sound unnatural in your phrase - you need a detache, marcato or some other sort of short sample with a longer decay/release instead.
I've never understood the idea that lots of people have that you should start with something low-end and garbage and then move your way up when a smarter financial decision is to buy something really good and improve yourself so that when you are good enough, you won't need to spend any more money.

They announced today that they're going to be balancing the PC and Console versions differently. I shouldn't be surprised by that at all, but I never really thought about it until I read that. That may very well mean I won't bother picking the game up on PS4 when and if the price drops to play with my friends who don't have a PC.
Also, the internet is just killing it with these
 

Try to flank it. It turns almost instantly and begins firing into your face. Try to dash past it via Genji or Tracer - Note how during the .2s travel time it locks on and fires several bullets(which all hit you - it has 100% accuracy even on fast moving targets).
 
I'd like to point out your turret-destroying strategies are best-case scenarios. Remember that we also have an entire enemy team to deal with on top of this. On several maps, there is nowhere for the attacking team to snipe it without being within its 40m range. Hanzo and Widowmaker need to line up a shot/charge/etc, which is plenty of time for it to lock on and attack them. The obvious solution is to either shield them with Reinhard or have another team member take the aggro. Using your best-case-scenario logic, we have to assume the enemy team will also have a Reinhardt or other players actively guarding said turrets, or otherwise denying you easy shots at it. This means you're using at least two players to deal with an automatic mechanic created by one player. If they have multiple Torbs and a half decent team, forget about it.
I'd also like to note that as someone who plays Genji religiously, I can tell you he can't simply "E" the turret. That works against a Lv.1 turret(though his basic attack is far more effective at that point, considering its slow attack rate and the likelihood of Torb being around to repair it), but the Lv.2 turret has too much health to burst down with Deflect, especially if Torb is attending to it.
 
"Git gud" is never effective in an argument. In most cases it's the equivalent of saying "I can't git gud without that mechanic so you should git gud instead!". By the way, his rivet gun is very effective both in close range and long range. Firing rate is 2RPS and it does 70 damage. His molten core makes his turrets even more powerful while also making him a bigger threat. He is fully capable of defending himself without his turret in it's current state.

I lol'd pretty hard at this
 

I lol'd pretty hard at this
 

This post hurts my brain.
I think what you're asking, is the legality of adding vocal samples to your music. Electronic music has done this since the earliest days, but if you haven't licensed said audio clips, then it is technically copyright infringement. 
As to whether or not it "sounds good", that completely depends on the song and clips used. In general, most EDM doesn't have much in the way of melody so the vocal cuts add something to it to break up the monotony of beats and basslines. Case in point.
 

Well, Widowmaker is the sexiest smurf to ever wield a sniper rifle.
 

I think I've gotten decent at countering most of the annoying characters. Hate Mei, though.

 

Just another day as Genji...
They were kinda bad though. I'll chalk it up to that "OMG OVERTIME RUSH POINT" but the Hanzo ignored my I'M USING MY ULTIMATE LOOK AT ME cry, the Reinhardt ignored me, the Zarya ignored me and the Mei didn't bother trying to freeze me. Her first ice wall also sort of stopped Hanzo from doing his job.

I'm actually surprised people are having difficulties with Tracer as she's probably the squishiest character in the game. Clint Beastwood's stun grenade or Pharah's rockets usually make short work of her.
Speaking of, some tips in case you don't know them:
- McCree's revolver reloads instantly when you roll. That's basically all the roll is really good for.
- In most spots on most maps, you can use the payload as cover and shoot under it at your enemies' feet. Works especially well as Pharah.
- Mercy is the only character who can match Pharah's Mobility. Having Mercy as Pharah's wingman can be a devastating combo since Mercy can actively heal Pharah as well as boost her already powerful rockets and ult.

If you are into rock and metal, you spent a considerable amount of time listening to Nick's fantastic drumming - especially on classic Megadeth albums like Rust In Peace. 
RIP Nick
http://www.blabbermouth.net/news/former-megadeth-drummer-nick-menza-dies-at-51/

OC ReMix & Impact Soundworks are pleased to officially announce the release of SUPER AUDIO CART, the definitive retro game instrument and a project eight years in the making!
Instrument Page: Read More & Purchase

Super Audio Cart features eight legendary video game systems recorded in exhaustive detail using a slew of specialized cartridges and hardware:
Atari 2600 Commodore 64 Sega Master System Game Boy Sega Genesis (Mega Drive - Model 1, naturally) NES Famicom (w/ VRC6, VRC7, FDS) SNES (Super Famicom) These samples combine to form more than 630 multisampled sound sources: everything from pulse oscillators and noise generators, to essential FM patch layouts, true lo-fi PCM drums and hacked/circuit-bent setups. When you play a Commodore 64 PWM patch or an NES drum kit, you aren't hearing an emulation: these are the real sounds coming straight from each console.
But Super Audio Cart goes far beyond authentic game sounds. We created an incredible KONTAKT PLAYER engine (with full NKS compatibility) pushing Kontakt to its limits to provide a huge range of sound design features and 1200 factory presets in total. This engine lets you transform simple pulses, saws, and 10kb samples into monumental pads, dirty EDM basses, hip hop leads and anything else you can think of.
SAMPLE CONTENT
Over 5,800 meticulously edited samples in total All-new bank of custom SNES samples (400+ instruments) 120+ classic FM instruments from the best Genesis soundtracks Hundreds of sound effects, both sound sources + presets Synthesized and DPCM sampled drumkits Tons of waveforms and circuit bent oscillators ENGINE FEATURES
Up to 4 simultaneous and independent sound source layers Five total FX racks (one per layer and global) with a custom "SNESVERB" module Independent arpeggiator/sequencer & gate, including wave sequencer Full control over envelopes, mapping range, keytracking and tuning Customizable portamento (including poly portamento) Over a dozen filter models (LP, HP, BP, notch) MIDI learn / CC links to any parameter or control XY controller for layer blending or modulation (also MIDI learnable) And the crown jewel, a 64-slot custom mod matrix built from scratch. We'll be making a video just for this since it can do so much - create and assign custom LFOs to virtually any parameter, use MIDI CC, random numbers, velocity, key position, and aftertouch (to name a few), modulate FX and controls globally or per-layer... etc. And you can bet the factory library makes great use of it!
AUDIO DEMOS
https://soundcloud.com/isworks/sets/super-audio-cart-demos
Super Audio Cart was produced as a collaboration between Impact Soundworks and the OverClocked ReMix video game music community, and is available now for the MSRP of $149 with FULL Kontakt Player and NKS compatibility!
Get the library here!
Let us know what you think!
VIDEO TUTORIALS (Playlist)
https://www.youtube.com/watch?v=n_kB2z4rCmo
QUOTES
"Super Audio Cart is so much fun, and absolutely spot-on for simulating retro game sounds. This is absolutely a fantastic sample library for all game music fans."
-Yasunori Mitsuda (Chrono Trigger, Chrono Cross, Xenogears)
"It's extremely convenient to be able to create arrangements with such diverse sounds so quickly, just using MIDI. Of course, Super Audio Cart isn't just for 'retro' sounds - it's also very useful for modern music as well."
    
-Yuzo Koshiro (Streets of Rage, ActRaiser, Revenge of Shinobi, Etrian Odyssey)
"Super Audio Cart is without doubt the best plugin for all your chiptune needs, it's got the lot and they're all glorious!! Having all these authentic sounds in one place is the best idea since someone said, 'Let's put a rap in Donkey Kong' ... oh wait."
    
-Grant Kirkhope (Donkey Kong 64, GoldenEye, Banjo-Kazooie, Civilization: Beyond Earth)
"Super Audio Cart fills a niche in my chiptune arsenal that has been sorely lacking. The SNES-style patches sound so authentic, and the multi-chip patches bring usability and versatility I haven't seen in a chiptune instrument before."
    
-Danny Baranowsky (Crypt of the NecroDancer, Binding of Isaac, Super Meat Boy)

If you are into rock and metal, you spent a considerable amount of time listening to Nick's fantastic drumming - especially on classic Megadeth albums like Rust In Peace. 
RIP Nick
http://www.blabbermouth.net/news/former-megadeth-drummer-nick-menza-dies-at-51/

It is my dream that one day, we will have a sky full of badass airships irl.

If you are into rock and metal, you spent a considerable amount of time listening to Nick's fantastic drumming - especially on classic Megadeth albums like Rust In Peace. 
RIP Nick
http://www.blabbermouth.net/news/former-megadeth-drummer-nick-menza-dies-at-51/

Woo000 Overwatch! Been planning on remixing this myself!
Anyway, I'm going to assume you're looking for feedback? If so here are my critiques
1. The orchestral samples sound fairly fake and the intro takes much too long. Like, the violin crescendos sound choked/way too fast and the strings don't seem to sweep. They sort of "dip" in volume at the end of each chord really quickly. I'm not sure what you're using, but consider another modwheel pass there.
2. Everything is way too central. You've got toms in the center or very close to it, piano, lead guitar, etc. Pan stuff, but keep the low frequencies central. 
3. The mix doesn't seem like it knows exactly what it wants to be. You start off orchestral, then go to a sort of metal vibe, then orchestral-metal then a sort of a dance beat. Couple that with the fact that there is essentially no build-up or fill before the rock starts and it all just feels very disjointed.
4. Obviously, you put your own spin on it, but the source is not very identifiable in much of the track. Like, your intervals are similar, but it's really not the Overwatch victory theme. Not to sound harsh, but if you hadn't labeled it as such, I probably wouldn't have guessed right away what it was a remix of. If you plan on submitting, I'd recommend making it closer to the original melodies.
Compare to the source for reference!