zircon

No, I actually think Eve is downright awful and wouldn't be able to do the same thing. Twitch is sort of a hypercarry in that if the enemy team is grouped up fighting your team, you can just walk to the edge of your range and ult away at really high attack speed and splash them with ultra strong attacks (and then Expunge.) With Eve you have to attack one person at a time.

Haha, well after seeing Zero wreck face with Twitch my faith was renewed in him. The thing is, even though his stealth is kinda useless and easily countered, he still has some nasty splash damage, big range and expunge. Eve can't do anything unless she's literally right next to you and even then her damage is single target and ultra low.

He's easy, but he has some weaknesses. 1. He's slow and fragile at the start. 2. He has no good pokes, and by that I mean that his ranges are quite short compared to other AP casters. 3. He has no stun, only a snare. 4. Both early and very late game he doesn't have a lot of utility. Now, compare to a champ like Brand. Brand has just as much damage output with four very damaging nukes, including one AOE and two chaining AOEs. He also has a stun and a passive that makes his spells do % of max HP damage. Not to mention his ranges are outstanding, meaning he can out-poke almost any other champion. All other things equal, Brand will beat Ryze mid pretty handily, because Ryze has to move in to cast his spells whereas Brand can chip and burst him at range. Or look at Morgana, who some don't even consider to be that powerful. She has a long-range nuke/snare with great AP scaling along with a massive AOE DOT which combined with the snare makes her a GREAT zoner. She's less susceptible to ganks because of the ranged snare and self-shield, which also gives her more utility. Her ult can AOE stun besides doing lots of damage. And so on and so forth. I don't really think any champions in LoL are bad, with the exceptions of Dr. Mundo and Eve. But Ryze is a case where I think his lack of range, stun and scaling utility hurts him in relation to other APs.

Yes, it is possible. 1. Load up an instance of K4 (doesn't matter whether it's "Kontakt", "Kontakt16out", etc.) 2. Load the instruments/multis you want. 3. Go to Outputs tab in the Kontakt interface. Click Presets/Batch Configuration. Select "Reset Output Selection." This should set up 8 routed stereo outputs within Kontakt, st.1 through st.8. If you don't see these, then hit "Add Channels" and manually add however many you want. You'll also want to hit the cross-shaped "+" button below any channels that don't have numbers there. For example, if st.1 has 1|2 below it, that means it is outputting on channels 1 and 2. If it has the cross, then it's not outputting on anything. You can just click and set st.2 to 3+4, st.3 to 5+6, and so forth. Make sure to then hit the Presets menu again and do "Save current output selection as... default" 4. Hit the gear icon in the upper left of the Kontakt wrapper. Click Processing. Click Auto Map Outputs. 5. In FL Studio, put Kontakt 4 on a mixer track. St.1 in Kontakt will output to that track. St.2 will output to the next available track, etc. Done.

A lot of the guides I've read say flat armor is more beneficial than flat MR when it comes to runes. I guess it depends on the champion, to some extent. If you're a melee then yeah, you might be up front eating more spells. If you're ranged, you should not be getting poked constantly... early boots can help mitigate that even further.

Other good yellows: * MP5 per level * HP per level Other good blues: * Magic resist per level * AP per level Flat MR isn't as useful because you're probably not taking huge magic damage early, and most characters don't scale exponentially off AP early either (with some exceptions.) With a set of AP runes and the AP mastery you can end up with 25+ bonus AP. Definitely not bad! But overall, flat CDR or MR/level is what I use most often for blues. Good quints to have include movespeed, health and armor pen (IMO)

I'm selling a Canon EOS Rebel T2i DSLR camera. It is like new, having been used only about 8 or 9 times. Jill and I bought it to do some music video work but we decided ultimately that we can't really afford to keep it. $700 shipped, that's $50 cheaper than other sites.

Posting here as a formal warning to SonicThHedgog. Don't post in Workshop threads unless you have something truly constructive to offer. This goes for anyone really, but you have been guilty of it quite a bit lately. Plus, if you're going to post at all, you need to spend time on spelling, grammar and intelligible sentence structure. You've had topics locked here in the past because they were so incoherent, so please spend more than 15 seconds on them in the future. To everyone else: stop egging him on. If someone posts something completely unhelpful, don't get into a huge debate about it and derail the thread. You are not moderators, it's not your job to tell people what to post and what not to. Just report the post and mods will take care of things from there.

From the time you submit to when we ACCEPT your mix, ~3-4 months or so. But getting posted is another story. That could take months more because we have quite a backlog.

Haha, just had a game where in the final push I ended up with 877ap as Vladimir. Void Staff, Rylai's, Rabadon's, maxed Mejai's, Sorc boots and Abyssal plus Baron buff, Will of the Ancients aura and the arcane elixir. :3 But everyone else on our team was pretty farmed as well, so I don't take any credit.

But the game is tied to the community. Even playing with OCR folks, getting ganked early usually means the game is over. And I think we all know the level of frustration gets extraordinarily high. That just doesn't happen to me with LoL and so I find it more enjoyable as a result. I don't really care about the current LoL 'metagame' because the meta doesn't dictate how the average player is actually playing. In most of the games I've played lately, there's a lot of action happening and I find it MORE exciting than HoN because I can actually move my skills and be more aggressive. When you scale life up and/or scale damage down what you're actually doing is promoting more aggressive gameplay (hence why Capcom did it with SF4 -> SSF4.) The things promoting passivity in LoL are not inherent to the game's design IMO whereas with HoN, it kind of is. Also dominion.

Now that I've played LoL, I don't like the snowballing in HoN (and DotA by extension.) If the enemy team is 9 kills to your 3, you're probably going to lose. In LoL, that's not bad at all. You can easily come back from it. Add in respawning barracks and, IMO, you have closer games and not so many pure stomps. In HoN just giving up one or two kills early can irrevocably alter the entire game, especially if you're the carry. It makes the game very frustrating for ANYONE, even skilled players.

Characters in song name? Length of name / text?

If you load Windows via Bootcamp, it's just like having Windows on any other computer. It's not any kind of virtualization or emulation. It's Windows, through and through. BGC does it this way (or at least did, last I checked.)

Interesting mix. This reminds me of the ReMixer Radiowar or artists like Zero 7. Kind of a minimal style but it works with those nice backing pads. The production isn't flawless (kick is too loud) but the arrangement is cool and there are plenty of little touches that make up for the blemishes. Good stuff. YES

Agreed with Vig. Guitars are awesome but loud, while drums are very plain/vanilla, bass is almost inaudible. Organ is good but also too quiet. This mix sounds like it is missing parts up to 0:58. I was waiting for a lead before that. Even when the lead guitar does come in, I would like to hear reverb/delay and/or some kind of stereo effect to really fill things out (some on the synth would be good too.) Good performances overall, but it ends up actually sounding more sparse compared to the original, which is already in the same style. Arrangement is OK but because things don't really change much in terms of the texture and instrumentation, I think it's tied into the other issue. Beef it up more. NO, resub

Interesting sound design. I like this kind of ambient approach. However some of the sounds are confusingly lo-fi or dry. For example, the up-front bell like sound is totally dry. Why...? Put some verb/delay on that and maybe layer it with some other stuff. The upbeat poppy synths and drums at 1:42 were a total surprise, and this is the first point that I really noticed the source in earnest (after listening to the source at least ten times.) The more I hear the bell lead though the more I think that you should definitely layer it or replace it, as it has too many inharmonic frequencies. Just sounds almost atonal at times. I want to pass this because it's pretty creative, but it seems very far-removed from the source overall, and there is a big jumble of production ideas. Trance synths, soft organic tones, swung bass and acoustic drums... it's not cohesive. If you're going to do the electronic/ambient thing, don't bring in trance synths and pop drums. Use soft electronic drums, crunchy soft-distorted stuff, quieter leads, more bell-like tones, maybe some EP/piano type instruments. NO

Drums and guitars sound solid here, though the kick might be a too loud, and the drums as a whole sound too compressed (especially on the crash.) Guitar performances are also good. I don't think the vocal 'kills' this mix but I agree that it seems too dry, not compressed and not up front enough. I actually think I heard some clipping too around 2:24? A lot of the track during the vocals sounded sparse to me also, just single rhythm guitar notes and simple drums. I would have loved to hear more pads, instruments or other textures. As it is, it seems very minimal except for the parts with the vocal harmonies & lead guitar. I also agree with Larry that there's too much original material between the intro and original choruses. I'm not opposed to original choruses (did it with Kindred) but there needs to be more stuff from the source tune. Maybe try a rhythmic change for example as opposed to basically playing it back as-is. NO

I have a lot of problems with the production here. The lead synth just sounds way too harsh and out of place. The drums are too high-pitched and chaotic (I would actually do half-time drums here.) As Shariq said, there is no low-end at all, leaving the whole mix sounding very sparse. It sounds like there should simply be more parts, be they pads, basses, etc. Even if you have good arrangement ideas, the execution needs to be at the same level. This is like a soft piano ballad with random harsh synths and chaotic DNB drums on top. Huh? I would go back to the drawing board and rethink your approach, maybe center the mix around the piano/strings, add some woodwinds, nix the drums/lead synth completely and add some warm pads. This would be a better starting point. NO

OK, sounds good. PM me your address and I'll get them shipped soon. ambinate and Dio, same deal! Just message me your info and I'll ship them.

Over the last 7 years or so, Jill and I have accumulated a number of books on the music industry. At this point, we've read all of them multiple times and so we'd like to pass them on to someone else for a real bargain price. Here's what we have. I'd like to sell all of this as a bundle but I'm willing to split it up somewhat to a minimum of two books per person! If you have any questions about any of these books, please let me know and I'll happily answer them (for example, I can elaborate on chapter titles and so forth.) In terms of price, we're asking $8 per book, or $6 per book for five or more. Buyer pays shipping but we'll use media mail which is ultra-cheap (only $4 for 5 pounds of stuff, or $6 for 10 pounds!) 1. The Future of the Music Business (2nd Edition) by Steve Gordon (Originally $25) 270pg paperback that offers a lawyer's perspective on the evolution of the music industry post-Napster. Some good stuff on licensing, important legal cases, ringtones/podcasts, music blogging, filesharing and so forth. Also has some revealing interviews with various music industry entrepreneurs like Derek Sivers and John Buckman (Magnatune.) 2. All You Need to Know About the Music Business (6th edition) by Donald S. Passman (Originally $20) 430pg hardcover that goes over all the practical stuff that anyone in the music biz needs to know. While there are some more philosophical and higher-level sections, most of the book is devoted to the nitty-gritty, particularly various kinds of contracts and deals you might encounter. If you want to learn about copublishing, controlled composition clauses, adaptation shares, the nuances of copyright duration and independent production agreements, I highly recommend this. 3. Cash Tracks - Compose, Producer, and Sell Your Original Soundtrack Music and Jingles by Jeffrey P. Fisher (Originally $20) 290pg paperback and perhaps my personal favorite on this list. I've read this one at least ten times. Rather than get into the super nitty-gritty, this one focuses on providing lots of creative ideas (along with some practical advice) for people that want to make money from their original music. It's a real goldmine of inspiration and pretty much every tip is very useful. I guarantee that there will be something in here that even a seasoned pro might not have heard before. Plus, there's some good stuff about what to expect when running your own business (organization, taxes, etc.) 4. Record Label Marketing by Tom Hutchinson, Amy Macy, Paul Allen (Originally $50) 400pg paperback and a real heavy hitter. This book focuses primarily on the inner-workings of traditional record labels, including the majors. Since a lot of the same marketing and promotional concepts apply to labels (and artists) of any label, it's quite useful in understanding how music reaches the general public. Things like timetables, tour scheduling, advertising campaigns and radio at a high level of detail that just isn't found in online resources. This was one of my textbooks as a Music Industry, so that should tell you something. 5. Guerilla P.R. Wired by Michael Levine (Originally $20) 270pg paperback with a somewhat misleading title. This is absolutely not public relations in the traditional sense. It is more about how to achieve visibility, write press releases and get media attention without spending money and using the Internet as well as traditional means. NOT music-focused but of course it's extremely relevant to musicians and people in our industry. The guy who wrote it owns a top-dollar P.R. firm and the prequel to this book (Guerilla P.R.) is one of the best-known books in the field. If you're wondering how to get yourself 'out there' this is a great resource. 6. NOLO Music Law: How to Run Your Band's Business (4th ed) by Attorney Rich Stim (Originally $25) All the NOLO books are notable in that they give high-level legal knowledge at a layperson's level. These are the books you want in situations where people say "you need a lawyer" but you can't afford one. Very useful and practical! Topics include band partnerships / agreements, management contracts, taxes, indie record deals, manufacturing, recording/sampling, etc. You get COMPLETE contracts in this book (plus a CD with actual docs!) and breakdowns of what all the terms/clauses mean. Excellent as a reference. 7. Web Marketing for the Music Business by Tom Hutchison (Originally $25) 280pg paperback. This was another book used as a textbook for my degree. It's basically a practical approach to using the web for music promotion, eg. building a website, viral marketing, eCommerce options, HTML/scripts, webcasting and so on. The title actually undersells it a bit - I'd say it's more like "Building a Web Presence in the Music Business" as opposed to marketing, since a lot of it is hands-on and practical. 8. This Business of Music Marketing & Promotion by Tad Lathrop (Revised Ed) (2 copies) (Originally $20) 280pg hardcover. A comprehensive guide to DIY promotion, marketing and revenue generation for musicians. A mix of practical and high-level stuff; none of the other books really think in terms of target audiences, analyzing demographics, DIY distribution w/ local record stores, creating flyers/forms and mailing lists, press kits and so on. Definitely a nice resource if you're going to do it all alone and not hire or work with anyone else. 9. Making Money Making Music (No Matter Where You Live) (Revised & Updated) by James W. Dearing (Originally $15) 173pg large-format paperback. Conceptually similar to cash tracks, this one is oriented toward live performers as opposed to studio composers/producers (though it has some good info for them as well.) For example, things like working with your band, working venues, picking song lists, rehearsals, business managers and so on. If you want to make performing an integral part of your career, I really suggest this book over the others. It's a comprehensive, practical guide that takes you from "Do I want to try to make a living from this?" all the way up.

Song of the Summoned Contest 2. This.... this should win.

1. In the entire history of OCR, nobody on the staff has earned even a single cent of profit. ALL of the site's revenue has always been invested back into the site, either through hosting, printing more t-shirts, albums, and so on. Even djpretzel, who has been running this place for 11 years now, earns no money from it. So that accusation is absolutely 100% off-base, and kind of hilarious. 2. If anything, "the uneducated masses" agree with you. We've seen this thread pop up many times on this forum and elsewhere, such as YouTube comments, NeoGAF and other websites. You have the situation totally reversed. If we wanted to be more popular, we wouldn't allow liberal mixes and would focus on covers and uninterpretive arrangements. 3. We reject ReMixes all the time that are too liberal compared with the source. The mix you pointed out ("Intense Color") is easily recognizable as being from Mario Paint, but we've had ones submitted where less than 40% had anything to do with game music. In fact, we've been hated on for this too. As it says in our standards, the source must be dominant. That means you can't do a rock remix where 3/4 of the piece is just you noodling or soloing. 4. This site is not about "remixes" in the traditional sense. It has ALWAYS been about arrangements, also called "ReMixes" (note the difference.) The Internet is full of places where you can go and hear guitarists playing straight covers of Super Mario Bros. We have NO problem with that and think that music is great too. But the point of this site is to pay tribute to the original music by doing something new and interpretive (but while still remaining heavily connected.) If you want to post or find very coverish music, YouTube is filled with it, so there's no shortage.

Sometimes I'm just dumbfounded at how bad people are. I just played a bot game - at level 20 mind you - and we got completely stomped. WTF. I didn't trash talk anyone in game of course, I just sat there in stunned silence.

Hate to say it but every single Nintendo handheld has spawned multiple, better iterations. No way I'm buying a 3DS now when I can wait a year or two and get a 3DS Lite, which will no doubt be better and probably cheaper too. I did this with the DS Lite + GBASP and it was worth the wait. This is a good deal but there will be better ones for bargain hunters like me.