AngelCityOutlaw

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!
 

I have CineSamples. 
It's okay. Some patches are amazing, like Horns legatos in CineBrass. The Winds are okay, they used to have bad noise issues and it got mostly fixed recently, but still nothing really inspiring. I have no comment on their strings, but I have a different recommendation for strings nonetheless. I think CineBrass is the strongest of the three, I would JUST get that one if you wanted CineSamples.
For full orchestra, I recommend Albion ONE. Fantastic sound, mixability, and good legato patches. It's not split into each instrument section like most libraries but... it really doesn't matter if you're not doing meticulous orchestration. You have Highs, Lows, and Mids, and that's really all you need to paint really pretty pictures. Plus, the fact that it's pre-recorded as sections voiced together only makes it sound more organic when you have legato lines.
For individual sections, as I said before CineBrass is good brass.
For winds, CineWinds is okay and you get the main solos (clarinet, flute, piccolo, bassoon, oboe) which is good for a standard selection. Around VI-Control though, you'll see people talk very highly of Berlin Woodwinds, and their articulation switching system is out of this world.
For strings, I have to recommend Cinematic Strings 2. CS2 is one of those libraries that everyone loves. It's simply designed and you just pop it into your project and it works. Has a great, full-bodied sound too, and with some good reverb it's honestly pretty convincing.
 
I understand bundle pricing and all that is a big factor in a decision; if that's the case and it's important to you, then do get the CineSamples bundle. It's like the difference between a good chicken sandwich and a good cheeseburger; you're gonna have a good time either way.

That was amazing!

Maybe I'm misunderstanding here as well, but it sounds to me like he simply wants better samples to make better-sounding music. It's a big game, could be played by a lot of people, so he wants it to sound the best with what he can afford.
I spent a lot of money on libraries because I wanted them. I never went into a purchase thinking that I'd ever make any money back from using them. If that's the OP's intent, then I'd say that is not a good way of going about it.

I'm "that" guy, but in every other DAW you just right click and change the time signature.
I just don't know why Image Line won't implement that feature.

Nice track, but the title?  Doesn't feel "bluesy" to me really. Really nice ideas tho! Dig eet. Whats it for?

It's a bit pricier than the linked one up there, but this is likely a little more solid: http://www.newegg.com/Product/Product.aspx?Item=N82E16814202197
 
4 GB of RAM will help it stay relevant for longer, too, as opposed to 2 GB.
 
EDIT: To clarify, I love my 750Ti, but for raw gaming horsepower bang for buck, AMD is definitely the way to go. Generally, Nvidia = better driver stability, and AMD = raw power.

My secret that's not really a secret since I've said it numerous times before is that I hate DAWs and doing MIDI sequencing, but it's a necessary evil.
 
My listening secret though is that I listen to Girls Generation, cheesy J-Pop and 90s Max Martin pop hits when I think no one is within earsho-SHUT UP IT'S CATCHY AND NOSTALGIC OKAY!?!?

Yes. At least that's how I do it. Most people I know here do it by ear too.
No.
No.
No.

This is a great recommendation, Gar!
Really? I haven't been having any problems with the Ghost In The Shell Game. Speaking of, you should add me up on Steam and we can play if you want!

Yes. At least that's how I do it. Most people I know here do it by ear too.
No.
No.
No.

"Art" right...what other crazy shit do you consider "art", Strader?

So you want someone to write music for this game with is basically girls being raped at gunpoint? What's wrong with you?

Another suggestion: Don't EQ a kick for extra low-end weight. Just use a sample that has that weight already or layer it with another kick - it's probably just simpler that way.

Hey! Sorry I've been MIA. I'll try to get my track finished soon, but I'm swamped at the moment since a video game I'm working on the score for is going to be part of a 24-hour marathon as a fundraiser for children's hospitals next weekend and I've got to get new music done and programmed with FMOD in time!

Another suggestion: Don't EQ a kick for extra low-end weight. Just use a sample that has that weight already or layer it with another kick - it's probably just simpler that way.

I am not American. $85 of your money is $107 of mine.
Also, while Steam does have it on for 66.49 and 27 for the season pass, it does me no good since I don't have the graphics card for it. I'd be forced to get it on PS4, where it costs 79.99 for the basic game and about 30 for the season pass.

I don't have this game, I'll give it a go when it's not $80, but I started playing the original Demon's Souls.
I thought I was a badass until I made it past the Phalanx boss. That's when the real game starts...

I like it. Definitely gives off the vibe you were trying to convey. Can imagine this in a JRPG more than anything. Somehow it reminds me of Baten Kaitos.

When I saw that you replied to this thread, I thought to myself "he's going to say, 'my body is ready'.
You did not disappoint. 

That's pretty much where a game loses me these days - when it starts to feel like work rather than entertainment. Or when you have to find the ambition within you to force yourself to play it.
Like, I was playing System Shock 2 recently and got about halfway through and I'm just so tired of Shodan's stupid "fetch or fix this for me" quests and I have no idea where to find the next thing I need and I just find myself saying "Do it yourself" and turning the game off.