zircon

I suppose that's the point of Creative Commons. It's designed to let people share their work freely (with varying levels of rights restriction.) I'd imagine at some point we'll see some sort of integration between CC and YT.

I felt it was at so low of a level that it should not have been paneled, that's correct. Any additional vote(s) would have been a total waste of time.

And here's the 'real' trailer for the game! Thank you again all for participating, and remember just because you didn't place in the top 5, it doesn't mean your stuff wasn't good. It's all just a matter of taste among the Space Whale team.

And the results are in! All five of us at Space Whale voted, as well as one of our most active artists, Kevin Appel. With nearly 20 amazing entries, it was very hard to pick a top five... so we couldn't! As it turns out, there were quite a few ties. Here were the final rankings: 1. Xenon Odyssey - Oily Robot Lovin' 2. O Keitel - "Lab 2 (Dubstep Remix)", Nutritious - "You Mean, I Can Dodge Robots?" 3. Another Soundscape - "Robotastic Dub-o-matic Genetic Lab", Willrock - "Willrocky" 4. Radiowar - "Cryogenics Lab (Radiowar Remix)", Joshua Morse - "Training Grounds" 5. prophetik - "Cryography" If you didn't show up on this list, it's not because your remix was bad. We all had an awesome time listening to all of them and we'll be featuring more than the top 5 on the remix album, to be distributed via OCR. So, whether you won something or not, thank you for participating! We'll have the entries up in some form or another soon

I guess I should note that I do think orchestral music deserves realistic panning...

I second what Nase said, but here is my own personal approach for most electronic styles. I don't pan anything. Literally, nothing. I often use reverbs and stereo delays to add a spatial effect, and sometimes I have LFO-panned synths or drumloops, but I never hard pan things unless they're guitars (and only if they are double tracked.) Just my opinion. So many people listen to music on headphones these days and IMO intensive panning is distracting.

This is a bit quiet. I had to turn up my headphones several dB to be able to really hear the timbres. I like the atmosphere and soundscape overall. It definitely has a rather desolate feel. Once the guitar lead comes in, it reminds me of Mazedude's earlier stuff. In fact, this whole mix reminds me of the earlier days on OCR, including some of my favorite old-school mixes. It's really evoking that nostalgia factor, with the very 90s digital-sounding samples and glassy, ethereal textures. The emotion here really comes through and I can honestly say not many remixes do that for me, so congratulations. The arrangement is pretty creative and interpretive, with a good amount of dynamics, though I do wish it fell into more of a groove earlier. My main problem is with the mixing and mastering. It's very quiet, which needs to be fixed for this to pass, since there's no reason for it to be like that (even a few dB through TLs Pocket Limiter or TLs Maximizer would do it.) It could use some more mid-high frequencies and the lead could stand to be a bit brighter. While I can certainly appreciate an old-school sound, try listening to some of Mazedude's works and use them as a template for how your piece should be balanced. VERY close one for me, please resubmit though... I really enjoyed it! NO, resubmit

Ryu is done as well

I've been involved with the copyright claim process before and you need to provide YT with quite a lot of info, including solid proof. And the user DOES get a warning. SG had been previously banned before anyway, which is why I'm saying it's not surprising. Who said anything about paying for it? I'm just saying you can't go around uploading people's work without their permission and then act surprised or indignant after they ask you to stop, you ignore them and get banned from YouTube for it. The thing is, most musicians and companies don't care about their stuff being distributed for free on YouTube. I don't care, myself (provided people provide links back to me if they want to hear more.) But if I make the decision that I don't want people uploading my stuff without permission, and I ask them to stop, that's not unreasonable.

When did I say he should have been banned? I just said it's not surprising, and that it's not some injustice. He did nothing except upload works created by other people, without their permission. Good for people that appreciate music, but if the people that OWN those works have a problem, then he should respect their wishes. You can't just act entitled to music that other people have written. If they don't want to share it, then you don't have the right to take it from them and share it. The fact that he's been banned and warned before says that he HAS been asked to take down the copyrighted material, and he just keeps ignoring those requests. THAT is a dick move.

For all we know he was a YouTube Partner and earning ad revenue off those videos.

Well, considering he uploaded tons and tons of copyrighted tracks without permission, I'm not surprised... nor do I really feel sorry for him since, as I understand it, he had several other accounts that were banned for the same reason. It does suck from our perspective as listeners, but we have to be fair to the original composers & publishers. If your channel has over 200 million views and you didn't create ANY of the content, that's not right.

ROFL, that's too much..

Nah, this isn't frowned upon. As mentioned above, these mixes are available elsewhere online, though OC ReMoved is your best spot. The reason we removed them is because they're primarily based on sampling of the original tune, whereas we look for actual arrangements rather than "remixes" in the traditional sense.

I don't think the lack of broadband is as big of a concern. For example, how hard would it be to have code verification on the disc itself?

The production here is definitely below our bar. Everything is very dry, compressed, and muddy (too much bass/low freqs.) The different parts are not mixed well - the guitars/bass for example are way too loud whereas you can't really hear the kick. The sound choices don't really make much sense. Is it a hip hop track, metal or trance? The blend of completely different genres doesn't really work. The lead is too piercing in the high range and its lack of any kind of vibrato or modulation makes it very plain. The arrangement is OK (at least it isn't a direct MIDI rip) but there aren't really any variations of the source material and if anything it is just simplified and it simply ends. There aren't any dynamics or a sense of beginning, middle and ending. Now, I'm not trying to be overly critical here and I don't want to discourage you guys from remixing. My early mixes basically sounded like this. But do take advantage of our WIP forums and keep practicing. You should also listen to the remixes we've posted lately to get an idea of where our bar is, in both arrangement and production. NO OVERRIDE

I agree with everything said in the video. However, there's one problem. People don't like the idea of paying extra for things already on the disc. Game consumers tend to be very... stupid when it comes to this stuff. Look at the big controvsery over Intel's idea of processor "DLC". The plan is to release new processors with less power out of the box, and you have to buy some sort of addon card to unlock their true potential. Basically, everybody I know hated this idea, because they didn't like the thought of buying "crippled" hardware and having to pay extra to unlock the full value. Nevermind that the point was to offer the processor at an initial discount - let's say $150 + $50 for the addon. They would rather pay $200 than pay $150 and pay $50 to unlock more, even though overall this delivers better value to consumers. This is the same reason people complain about many other things, like bandwidth caps. In theory, bandwidth caps should benefit the vast majority of internet users. A tiny fraction of users use an enormous sum of bandwidth, therefore it makes sense to discount everyone else but cap their plan (or tier it), and charge extra only if you're in the 1% that uses a lot. Or how about the World of Warcraft rest system? Initially, it was a penalty system where if you played for too long, you started getting half XP. Everyone hated it. Leave the numbers exactly the same and say you're getting bonus XP for having NOT played, and only returning to normal XP after awhile, and everyone loves it. The effect is IDENTICAL but because people are so easily (and predictably) swayed due to psychology, not reason, they get outraged at one implementation and not at the other. Long story short, I personally have no problem with your suggestion(s) seph + co. But most people are simply not capable of moving beyond that instinct of "I don't want to pay more for unlocks!"

I bet it's going to be awesome.

True dat, even virt gave this a shoutout!!

We should have the results by the end of the weekend.

Destiny has been working primarily on original music: http://faefly-records.co.uk/

Ah thanks for the link correction Brad, should be working now. Here are some other Middle Eastern vox libraries: http://www.sonokinetic.net/products/classical/desert-voice/ http://www.sonokinetic.net/products/classical/tigris-and-euphrates/ That's why I'm hesitant to enter that niche...

Indeed it is.

SICK! Keep 'em coming!

But, and I think you'll agree, this is only relevant with a very small subset of games in the industry. There are many many games being released every year and the vast majority are not the Hollywood blockbuster style that Hollywood composers would be shooting for. Hans Zimmer is not going to be competing for the chance at writing for an XBLA game for example, or Plants vs. Zombies, or a fighting game, or a racing game. That's why I'm saying overcrowding from new composers is way more of a factor. At the very highest level, of course the thousands of new recruits out there are not going to be competing for Halo 4. But few games are at this level. Without naming names, I recently heard about a popular fan-based arrangement project whose staff has started scoring commercial games for Nintendo DS. This project was not received terribly well here and most would agree the people involved would not even be capable of passing the OCR bar. And yet, they're now competition in the handheld/casual game market. This is the real problem that 99.9% of video game composers have to worry about.