The Nikanoru

I've read a lot of this thread and I'm with Mirby; there is really too much grey area to call this a black and white issue. I agree that the composer saying he never heard the song before is BS - I thought the two tunes were overlaid, same as Palpable - but the idea of 'justice' comes down to making the injured party whole. if Powerman 5000 is choosing not to pursue legal action, is there any wrong to correct? I think that this comes down to the philosophy of what copying is and making sure a published artist's original works are protected versus what the artist or publisher's intentions of that copyrighted material are. I mean, we all can come up with thousands of blatent or near-miss examples. Here's mine: Once again, you can't tell me the composer hadn't heard this before submitting for publish, but even if he did know about this, Eric never pressed any charges. So, what harm is done, really? Does this set a bad precedent? I think ultimately enforcement is up to the copyright holder - if they don't care, why should we? Or, likewise, (as Mirby put already), if we follow the letter of the law, then how is any of the music posted on this website not guilty of the same? I say let them go ahead - if someone takes issue, then they can pursue, but if not, I really don't see the harm. Also, a lot of the music industry is now about the exposure rather than the sales themselves; you can't sell to people who don't know you. If nothing else, I bet Powerman 5000 has had a nice boost in sales after this issue got so much attention.

I like this! I've never played Parodius, but I already like the soundtrack after hearing this piece. This track is full of life and promises excitement. I really like the flow of the piece, moving from whimsical to formal then to what sounds like a chase then back to whimsical - transitions are smooth, mix is good for the most part, and the different styles of each source is blend together very well. This is a very cool arrangement! Seriously, you should be proud of this. Looking forward to seeing the post for the first OCR track by Ganaé!

Got another one. Remix of Ryu's Theme from SF II by Man Factory. If you haven't heard of Man Factory, check out https://manfactory.bandcamp.com/. They created a rock opera spanning three albums, based off the original Street Fighter II. They even created a fictional storyline around each of the characters, as told by the lyrics. They have a very garage-or-dad's-basement sound as a band, but the lyrics are very clever and I really do like the sound they create. @Odai LOVE that video. What an amazing artist! I laughed so hard I cried too - especially the Navi gags. Her facial expressions are priceless! @DarkeSword I'm trying to keep it to one track as a recommendation, but it seems it's the artist I'd like to recommend instead of just one track. It also seems I'm not the only one to have this problem. If this isn't how you saw the thread panning out, do you think it would be worth setting up another thread for non-OCR VGM Remix Artists?

I'm sad Rhianna Pratchett isn't involved in this one.

Holy crap, I wasn't expecting to EVER hear from this game again, LOL. I'd forgotten how jazzy the OST was for this game. Great cover. I love the swingin' sound of the sax/piano/snare but the bass is too understated and the drums could be more interesting, IMO. Still, great sound. Can't wait to hear it finished!

I am not ashamed to admit that I don't like most rap, but I like this. This is really good! The timing is excellent and the mixing seems good to me. The lyrics aren't ridiculous and they don't conflict with themselves (VERY hard to accomplish this, from what I understand from other rap artists). The sound clips - although not my favorite addition - fit into the song decently and don't distract from the tone of the song. The only thing I would say is that the rap itself is kind of monotone, considering the lyrics are actually sung. It definitely works with the tone and style of the track, and I'm not saying you need to jazz improv the &*#$%^ out of it, but a little more variety in delivery would add to the track, IMO. ... I like 'black shoes, black pants' bit. Makes me think of good old Ivo as a sharp dressed... Eggman. LOL

Not personally, but I do know AeroZ was learning to play bass for his remix An Angel's Wish for the Forest (#3295, released in January). His profile says he's at least open to the idea... Post a thread in the Recruit and Collaborate section. I'm sure SOMEONE will help you out.

Probably had a few threads on this already, but with IGA's departure from Konami, the development of Bloodstained, and Konami's recent ... incarnation ... of Castlevania, it really looks as if the nails are being driven into the coffin of the Castlevania franchise. It's too bad - the series had a long history and there was never really a game that 'ended' the series (For those unfamiliar with the entire spread of Castlevania games or the Castlevania back history, check out https://en.wikipedia.org/wiki/Castlevania or http://castlevania.wikia.com/wiki/Castlevania_Wiki). However, there are many holes in the Castlevania mythology that have always piqued my interest. Some of them include: The 300 years between Leon Belmont and Trevor Belmont How Mathias Conqvist built his power prior to Castlevania III How the Vampire Killer changed form or grew in power over the years What happened to Richter Belmont to make him give up the Vampire Killer Whatever happened to the Belmont family between 1792 and 1999? How John Morris acquired the Vampire Killer How Julius Belmont acquired the Vampire Killer The Demon Castle War of 1999 Alucard's ultimate fate Whatever happened to the Danasty / Schneider / Graves / Renard / Gandolfi / Belnades families? Personally, I would like to see them finish the series by building a game around a young Julius Belmont about to engage in the Demon Castle War. More than enough epic G V E in that scenario alone to bring the series to a proper close. But what do you think? WHAT IF one more Castlevania game was released? Would you like to see the series wrapped up? Would you rather they picked a thread in the timeline to follow? Or maybe a super-Sci-Fi futuristic Castlevania game?

Not bad. I like the style you've chosen, but I agree with Ganae, the bass line needs MORE and I think you may want to look at your individual part dynamics. Drums are pretty flat too. Could you mix it up a bit at 0:42, maybe add something or open up the sound of them a bit? I will say, I do like the sound of the drums, synth, harpsichord combo. I want to hear where you are going to take this. Updates please! ...Oh yeah, and did you know the video says Lego Dimensions on it? LOL

Wow, this track is more than a little fantastic. This is really well put together! Love the arrangement and the mix of instruments. Oh, and props to the electric clarinet. Only the second time I've ever seen one! Just for us new folks, who are your 'badass' collaborators?

ULTRANOMICON has some great metal remixes I recommend. https://soundcloud.com/ultranomicon I especially like the Doom Castle track - not enough Mystic Quest remixes out there. The track could be considered conservative, as it does stick pretty close to the source material, but he isn't afraid to shred it out in the middle and build, to me, a very complete experience. Can't beat the sound of symphonic rock! @Mirby That's awesome! Love the precision.

Very cool! I recognize every track - I'm such a geek. And old, apparently. The sound you chose for the Triforce intro seems ... too synthetic for the sound created after the first ten seconds. The SNES OST used some sort of harp sound, so maybe something lighter would capture that feel a little better. 0:24 to 0:26 seems a little cluttered. Afterwards, however, the harmonies work very well together, flawless timing. Not sure I like the voice clips, but the one at 2:09 is original and not sampled, yes? Definitely points for that. One note on arrangement: Not sure I would end on the Song of Time. I mean, it works, but it might be more effective to end on Zelda's Lullaby and insert Song of Time after the Temple Theme but use that driving drumbeat to get back into Death Mountain. Just a suggestion. This is awesome and already really polished. I like the video, it's like a trip down memory lane. Keep on shredding!

So, if any of us have a suggestion of a track we'd like to remix for this album that isn't posted on the first post of this thread, we check in (like Hipnotyk), wait for a yay or nay, then submit to Mr. Strader or Mirby when its done? Not that I actually have a remix to submit, I'm just asking the question in case I did have one. I agree with Mirby that a deadline of some sort - like before 2017 - would be good to keep a sense of some urgency for the participants. You can always push the date if you need to. ...which is easy for me to say. LOL

Just came across this. Ice Cap Zone is one of my favorite Sonic 3 tracks. I like the arrangement and the airy feel of the intro - it actually sounds chilly. However, you need to tone down the volume and EQ the bass and percussion. Way too heavy in comparison to other elements like the hi-frequency chip-tones. I like the breakdown at 1:29, but I think you should put something else in here, a fill of some sort. How are you for soloing on that keyboard? It would be a good place to rock out a bit and see what happens. I really like the way things come together at 2:13, this is where I hear the overall sound best, IMO. Too boomy at 1:03. How do you think the ending sounds? I think it sounds cut short, ending on the last note of the main rhythm. if that's what you're looking for, then go with it, but to me it does seemed chopped. As a first time producer, you should be proud of this. This is really good work, and I hope I see more from you. Cheers and play on!

Once again, love this track. A couple of things: -1:12 - not sure that the In the Dead of Night part is working for this section. I get the feel you are creating here, but the triplets you need for the melody is really quiet and (IMO) really conflicts with the support the rhythm guitar is giving here. I'd suggest brightening up the orchestral backdrop to this part, but it may make it sound cluttered. Maybe a different rhythm is needed here because I'm afraid to suggest lowering the volume of that drive and losing the overall feel of the song. -1:31 - the crash adds a lot of depth and it's a great way to jump into the second Fear section, but that depth suddenly disappears once it ends - you may want to try using this crash a bit more in this section or use a cymbal crash instead so you don't leave us audiophiles hanging. WONDERFUL lead overtop of the rhythm guitar, really brings this part alive! -2:01 - this spot may be better for In the Dead of Night. I'm hearing a bit of Spirit of the Night, but not enough to make it stand out. -2:38 - I like the speed-up and solo - worthy of Brian May, Slash, and Keith Richards, and probably James Hetfield and Van Halen too! -3:19 - FABULOUS lead-in to Leave Time for Love! -3:40 - THERE's Spirit of the Night! Great place to put it, driving beat and crazy fill only emphasize the melody. Don't touch this part anymore, aside from minor matering - this sounds AWESOME! -4:45 - Ends very suddenly - leaves me kind of hanging, but better than the progressive fadeout. I still think it's worth bringing the listener back to Fear to bring the listener back to where you started, but this can work as is. It's just sudden, is all. This is better than I imagined it. Hopefully getting close to where you want to too. Keep the updates coming!

... why haven't you submitted this yet? EDIT: 8/19 - Oh, that's why - you were still working on it. This really shows in the new version. Love all the new shred-action in addition to the driving electronica! Only comments: You may want to look at the mastering levels on each guitar and how they compare to each other. timeaus222 has a neat tutorial for mixing using Shreddage 2 you may want to look at. Also, the ending is a bit abrupt. Despite my comments, I think you have a good change of being accepted as is, though. This is solid otherwise - great work!

Your choice of synth sound clashes with the percussion, IMO. It sounds really muddy. Also, I can't hear the bass very well in most of the track. To me this, this begs for some hair metal guitar solo somewhere in here - but I think that's a personal preference. That being said, I like the style and arrangement, and I agree with shaboogen, the synth at the 2:00 mark is AWESOME. Great track and I'll be keeping an eye out for updates!

I agree with Garpocalypse on most of his points, including the DADGAD tuning comment (good catch, btw). I've played in a few orchestras and heard enough Folk and Celtic to know that long tones are actually fairly common in this style of music. In fact, I once played a song where I had to maintain a whole note for - I kid you not - 128 measures @ 102bpm. Try that with a wind instrument sometime. Painful. That being said, the guitar and cello in the beginning (although pretty and moody) are still kind of droning. It may help to reconfigure the mix and have the rhythm a little quieter than the melody; listen to Moonlight City (Lumina) from the Legend of Mana OST. Totally different style, but this track has a similar droning feel to it and it doesn't overpower the melody like I feel this one is in danger of doing. The flute/ocarina is too loud and kind of shrill; I also think the violin is too quiet in contrast. Needs more bodhran! Like everyone else, though, I feel that overall this is a beautiful piece. Makes me think of the Upper Land or Gaia's Navel more than the Mana Beast, but a gorgeous arrangement nonetheless. Awesome track!

It's true, he does, but only out of respect for the original artists. He doesn't legally need permission to parody anything, as was proven when Coolio's agent tried to take him on over Amish Paradise. Atlantic Records tried to take him on over You're Pitiful too, but instead of fighting them he released the song online for free ... no lawsuit ever materialized. Full disclosure: big Weird Al fan here. Meanwhile, back at the ranch... As Nase says, everyone samples stuff and has since the late 80s. They are fun to use and it can sound good if used right ... but not my cup of tea.

I understand that the violation is for COPYING copyrighted song material, such as complete and/or partial quotes of copyrighted material. Any modification to the original work so that it is different from the original - ie. a parody - is not technically copyright infringement. How different it needs to be depends on the laws of the land. Apparently this is how Weird Al and other parody artists can do what they do. What's your opinion on this, Nathan? True - but it's all fun and games until someone loses a potential buck.

Fair enough, if this is the case. Just trying to encourage a new remix!

I think AngelCityOutlaw mostly answered this for you already, but I'll take a stab. If the audio clips are from any recording under licence then it is copyright infringement; should you ever make money with said track, then you would be all kinds of liable. That being said, lots of other remixers use copyrighted audio clips for tracks posted on this website (case in point Brandon Strader's Bringing Out the Dead, Vampire's Kiss, or Season of the Witch), and because all the music posted here is for free, no licence agreements are technically violated. (I live in Canada - someone correct me if the laws are different elsewhere) In terms of effect on a song, I think it depends entirely on the composer and the sound the composer is trying to create. I personally don't like authentic voice clips in tracks because I think it takes away from the originality of the music, but sometimes (BONKER's Zero and the Plight of Iris) it can have a powerful effect on the rest of the song. I did listen to your track Shade, and I have to say, the audio clips do make it sound really cluttered and doesn't add anything to the song itself, in my opinion. If you are really worried about it, or think you might want to market the track sometime, one suggestion I would have is to take the lines you like from an audio clip and record them yourself or with a friend. XPRTNovice recorded lines in his own voice in his recent remix The Power from BadAss III, and it sounds pretty darn awesome. I truly believe that originality is the best course of action in any situation where this kind of concern comes up.

Been a long time since I played this game - longer than I care to admit. Ol' Maxim still pulls on the heartstrings though... Very pretty. You clearly know the source material well and know how to make it sound very good - but this is just a cover in the purest reference. If I may wax poetic here, I hear nothing of the performer in this track. Have you thought about adding your own touch to this piece? Maybe a small solo over the harmony riff you have in the guitar part or a bridge to transition between the guitar and piano parts?

... I'd buy them, but I loved ActRaiser and Soul Blazer. I'm also a fan of original scores for songs, especially in sheet music - to me, it gives the ultimate freedom of interpretation. Beck released his Song Reader album (2012) to complete sheet music; not much of a market and obviously not for non-musicians, but the idea of 'interpret the song and play it yourself' was a powerful one to me.

A plan to remake Xenogears and fully develop the rest of Xenogears: Perfect Works - with a multi-title contract, signed in blood by all the developers and upper management.