jnWake

Listening to the album now. Nice arrangements and playing in all the tracks, definitely a nice tribute!
My favourites on first listen:
- Time's Seal. Cool rendition of the original.
- Dream of Green. Forest theme lends itself well to jazz with the cool chord progressions and ambient mood. I love the strong accentuated chords in the "chorus". My favourite of the album. Also really like the bass and synth lead.
- Fight or Flight. Love the change at 1:10. Like that this one is more upbeat. And it has a drum solo!
- Driftwood. Another source very suited for jazz!
Really nice! All tracks were cool but the 4 above were my favourite.

Listening to the album now. Nice arrangements and playing in all the tracks, definitely a nice tribute!
My favourites on first listen:
- Time's Seal. Cool rendition of the original.
- Dream of Green. Forest theme lends itself well to jazz with the cool chord progressions and ambient mood. I love the strong accentuated chords in the "chorus". My favourite of the album. Also really like the bass and synth lead.
- Fight or Flight. Love the change at 1:10. Like that this one is more upbeat. And it has a drum solo!
- Driftwood. Another source very suited for jazz!
Really nice! All tracks were cool but the 4 above were my favourite.

Listening to the album now. Nice arrangements and playing in all the tracks, definitely a nice tribute!
My favourites on first listen:
- Time's Seal. Cool rendition of the original.
- Dream of Green. Forest theme lends itself well to jazz with the cool chord progressions and ambient mood. I love the strong accentuated chords in the "chorus". My favourite of the album. Also really like the bass and synth lead.
- Fight or Flight. Love the change at 1:10. Like that this one is more upbeat. And it has a drum solo!
- Driftwood. Another source very suited for jazz!
Really nice! All tracks were cool but the 4 above were my favourite.

Listening to the album now. Nice arrangements and playing in all the tracks, definitely a nice tribute!
My favourites on first listen:
- Time's Seal. Cool rendition of the original.
- Dream of Green. Forest theme lends itself well to jazz with the cool chord progressions and ambient mood. I love the strong accentuated chords in the "chorus". My favourite of the album. Also really like the bass and synth lead.
- Fight or Flight. Love the change at 1:10. Like that this one is more upbeat. And it has a drum solo!
- Driftwood. Another source very suited for jazz!
Really nice! All tracks were cool but the 4 above were my favourite.

Awesome album! My favourite song is Hylian Lemon's Paper Mario remix. Lovely use of chiptunes there!
I wanted to be part of this album but I never managed to find time to do a track and I actually had an idea for one... Oh well, I can make it in the future I hope!

Ok. I'll do my best.
Forgot to comment earlier, but it's a shame how things ended with Brandon. Oh well, as zyko said, I'm here for da muzak.

No restrictions. You can do an arrangement that covers several sources as long as it's cohesive and doesn't feel like a medley. My only posted mix that I arranged is of that type!

I strongly doubt it'll gather much data but I don't mind having ads on remixes I wrote... which is only 1 right now haha.

I strongly doubt it'll gather much data but I don't mind having ads on remixes I wrote... which is only 1 right now haha.

Awesome album! My favourite song is Hylian Lemon's Paper Mario remix. Lovely use of chiptunes there!
I wanted to be part of this album but I never managed to find time to do a track and I actually had an idea for one... Oh well, I can make it in the future I hope!

I don't think you have. I don't think you've done your best to present "the facts as stated"...
Here's why:
"I think the major problem here is that the trust of the site is so far beyond gone that nobody has a legitimate reason to believe any staff or owner of OCR is not profiting from this." - this is not a fact, this is a thought that starts off personal, but then you assert that NOBODY has reason to believe anything we're saying w/ regard to profit... which is not only NOT a fact, but is in the proximity of libel... "Disregarding the unethical and potentially illegal aspect of them profiting off of the music itself" - right, as stated, we aren't profiting. The funds are earmarked solely for site purposes. Continuing to call this profit is synonymous with claiming that ANY money OCR *ever* takes in would be profit as well, in which case... no more OCR. So not a presentation of fact... "I'm going to assume from now on that each staff member is making a fair amount of income from the site." - this is you doing your best to present facts? "Your content policy doesn't stretch to youtube usage." - not a statement of fact; your opinion. Hinges on the word "context" which I happen to think most people would have a pretty good idea of... "Your own policy prohibits you from doing what you did" - not a statement of fact, ditto as above. "Were sales of Super Cart not too good? That's unfortunate." - not a statement of fact, just kinda douchey. It's sold pretty well, FYI... this is you doing your best to present facts? "We need an audit, we need someone to go over the financials, and the horrors within need to be disclosed." - which horrors? The ones you have absolutely no evidence of? So that's doing your best to present "facts"? "I have more reason to believe the site will be dead in a year because the financials weren't properly held and OCR falls into legal hell, than anything else. There's more evidence of that." - now you're talking about "evidence" that we'll fall into "legal hell" because financials weren't "properly held." This is actually libel, FYI. I have no intent to act on it, but I believe it would qualify. You're literally claiming that evidence exists of fiscal wrongdoing. This is not only not presenting "facts as stated", it's a statement for which you could be legally held accountable. "since it was hidden from us for 2 months, there is no way I will ever support this regardless of an audit." - this isn't a statement of fact, it's just you doing a full reversal of your above call for an audit. You literally said "we need an audit!" and then "I won't support this regardless of an audit!" - this isn't presentation of fact, it's schizophrenic. "And probably the reason I didn't find it sooner is because I was banned for over a month due to questioning OTHER shady stuff that occurred and staff behavior from the past." - this is misleading. You were informed why you were banned. If you want us making all of that public on this thread, we can. It wasn't related to "shady stuff"... "You say nobody but OCR should worry about legal issues, but the content policy clearly pushes liability onto the remixer." - this is not a statement of fact, and is again misleading. We CANNOT indemnify the submitting artist because our license is non-exclusive - they could post it elsewhere, they could sell it for $10,000, who knows. We can't indemnify that, and we're making that clear. "This really isn't about me in any way though" - sure... So... just to be clear... all of that was you... doing your best... to present the facts as stated?
Anyone wanna defend that claim, or is it as egregiously false as it seems to me, based on the above?

This is the point I was trying to make with my posts. You explained it clearly here!
I think it's necessary to explain it on the submissions website, especially for new users that may feel bothered by their remixes "making" money directly.

I think the difference between the old way (site ads) and the new way (youtube ads) is that now OCR is making revenue off of specific, identifiable remixes, instead of just "remixes in general."  I think it should be ok, with a couple of caveats:
1. We should update the remix agreement to include specific language about the fact that the remix videos on youtube are monetized, with the funds going to OCR and not to either the remixer or the original artist(s)
2. We should make sure that none of the original artists (Nintendo, Square Enix, etc.) would have any viable claim against OCR making money from their original work
3. We should do some budget projections to see if making money in this way is even worth the possibility of pissing off ReMixers, viewers, and potentially original artists.

Ok since this is public, I'll say this publicly.  I have offered repeatedly to take on this role and we have discussed it.  I have an MBA in Finance and a ton of accounting experience; this is what I do.  I did a budget template and financial statement templates and invited you to the Google sheets, I hope you've looked at them.  It's time to revisit these budgeting templates in a big way.  We need to have some serious conversations about budgeting.  Tom has just started back to school (yesterday), so my time is more available now to work on this with you.  
I totally understand everyone's feelings about YouTube ads, and I share these feelings.  It has a totally different perception than website ads, and it feels more like a personal "fuck you" when you're on YouTube and an ad pops in your face.  I fear that YouTube ads may have a negative impact overall.  But I totally understand your feelings about the different types of ads and your explanations are great.  Let's budget it out to see if it makes sense to continue them, or maybe there are other options we haven't explored yet.

Awesome!
I should work harder on my tracks then... Why aren't days longer ;_;

I love how free it looks. You can climb mountains, put things on fire, ride animals, steal weapons from enemies... Seems like there's so much to do. Graphics are beautiful too, it'll look insane on NX.

Cost: Yep, as mentioned in a YouTube comment reply it's going to be in the $100-150 range. I think it's going to be a pretty fantastic value for the money purely for the MODERN sounds alone. That's the big difference between this and other retro/chiptune type plugins; this has hundreds upon hundreds of presets made by layering the systems, adding effects, modulators, envelopes, and filters. A pad made from SNES strings mixed with Genesis sweeps and NES arpeggios? Sure! The factory library features contributions from OCR's own community: bLiNd, Timaeus222, Flexstyle, Sir_NutS, and Big Giant Circles, along with myself and djpretzel to name a few!
Kontakt: ... Is not the most elegantly designed plugin in the world, but that's OK because we created our own interface and engine from scratch. So you're not really using Kontakt's UI, but our own thing that just uses Kontakt as the backend. All the graphics, wallpapers, knobs and other stuff are totally original. I'll be making a multi-part tutorial series on how to use Super Audio Cart, too. Starting with the basics of navigating the factory library, then moving on to basic sound layering and mixing, envelopes/filters and portamento, arpeggiator & sequencer, FX, and the mod matrix.
SNES: For the SNES, for copyright reasons we couldn't sample the actual games themselves. Instead, we created our own custom bank of 400+ sounds to the same specification used by actual SNES games, right down to the same bit rate reduction (BRR) encoding. These samples could be dropped into a ROM file and loaded on a real SNES - and in fact we did that just to make sure they sounded correct! You'll find a huge range of sounds including strings, pianos, guitars, basses, ethnic instruments, FX, ensembles, and drums, with lots of variations for each. There's also an FX module with the classic "SNESVERB" sound that you can tweak and toggle at will.
MegaDrive: Another tricky one, since FM synthesis has infinite possible patch combinations. However, most of them suck! So we ripped the TFI (FM synth patch) data from actual soundtracks and, using a Model 1 Genesis and GenMDM hardware, multisampled about 120 of the best patches from my favorite games. Classic instruments from titles like Streets of Rage, Phantasy Star, Shinobi, Toejam & Earl, etc. Oh yeah, and several hundred FX taken from sound tests too (non-PCM fx, so again, no copyright issue!) On the PCM end, we did use the Genesis' lo-fi DAC to record some custom drums + percussion for lovely Genesis-style 707, 808, 909, rock, metal, and hybrid kits, plus about a dozen others.

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)

This always hovers over my head when composing so I intentionally try to put unexpected things into my songs, like key changes, non-traditional chord progressions and stuff like that. However, it's very easy to overdo it and end up with stuff that sounds terrible in an attempt to sound unique. I guess the easiest way to avoid this is to listen to different music and get as many inspirations as possible to avoid being too influenced by few sources.

I'll share some of the bands I listen to:
Tesseract is progressive djent metal band... Or something like that, I get confused by genders often. Anyway, they are characterized by weird rhytms and cool vocal harmonies. Some of their songs have growls and shit like that but they've slowly moven away from that.
Andromeda is a progressive metal band that usually makes very technical songs. The one I link above is one of their ballads where the singer shines. Their instrumentals are pretty good.
Finally, while most people in this thread have probably heard of Symphony X, I want to share what I feel is their most underrated song:
Rediscovery part 2 is one of my favourite metal songs. For the first minutes the song is quite calm and hopeful but then turns darker before having some of SyX's stranger riffs. For some reason this song isn't very popular (unlike some of their other epics like The Divine Wings of Tragedy and The Odyssey) and I believe they have never even played it live. A shame for such an incredible song.

Shiny Xerneas is available online right now until the 17th! Go get it!

And now I have a fairy deer.
 
I wonder if my pokemon are intimidated by the fact that all these level 100 legendaries keep showing up out of nowhere.

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

I'm working on mine too... Not that close to completion yet but in the works!