zircon

I don't think there's anything wrong with film composers doing game music. There are, after all, many different types of games. Some games are intended to be very cinematic in nature, and they mimic Hollywod in production and presentation. Now, whether you think these games are good or bad is beside the point - surely you would agree that for a "summer blockbuster" style game, you want music to match, and there are film composers who are quite good at it. Worrying about market overcrowding because some big name composers are doing game scores is ridiculous. If you're going to worry about overcrowding at all, look at ALL of the film scoring and music programs in the United States. I can't say with any certainty, but there's gotta be tens of thousands of people pouring into the music-for-film/TV/game industry every year, if not more. And cheaper, higher-quality tools are only leveling the playing field. THOSE things are the cause of overcrowding, NOT a couple of Hollywood composers coming in.

Tyler Heath is still an active musician, but he does original rock stuff, not so much VGM. A shame since he's such an amazing talent with orchestral music.

Nice! Did you do the instrumental too? <- big Fei Long fan

There have actually been some solo Middle Eastern vocal libraries out there, like "Voices of Passion" and Tonehammer's "Forgotten Voices" series. But the former is very expensive/requires a dongle and the latter is a bit restrictive (phrase-based instead of multisampled.) We ARE going to do an East European choir library though, as well as solo Western vox in various styles (pop stacks, operatic, breathy/straight tone.)

Absolutely love it. Nothin' more to say.

Thanks Matt! That one seems to be a favorite. Neblix: Hey, you can't be worse than me...

I'm a big fan of the AVGN. I also enjoy James' other movies and productions though I haven't watched much of his original stuff - I just like the way he approaches reviewing games, films or general nostalgia, commenting on trivia and history, etc. I do agree he can go a little overboard with the poop stuff (it's funny once in awhile) but a lot of the 'guest' episodes have grown on me. I've watched the Crazy Castle episode about three times now but I think it was funniest to me the third time, when I noticed Kyle crawling away in pain after the couch is destroyed, swearing "...nintendo dork... you broke my fucking couch!"

I got word of this event pretty late (to say the least) but I'm strongly considering attending. http://www.imsta.org/imsta_festa.php It's a day-long music technology conference/expo. A lot of plugin, sample and DAW companies will be represented there including Imageline who makes FL Studio. The event is at the SAE Institute which is just a few blocks from Penn Station, making it easy to get to. Also, it's FREE! So, it sounds like it's going to be fun, with panels, workshops, Q&As and contests. I'm just not sure if I want to travel up to NYC if nobody I know will be there, but if even one or two people from OCR sign up, I'd love to attend and participate as one of the FLStudio exhibitors. Anyone interested in coming and hanging out?

Y'all doubting me! Here's the breakdown. REMIX - SOURCE 0:07-0:23 = 0:32-0:44, straightforward from Cold Man. 0:24-0:31 = 0:32-0:44 - The chords are straight out of the original Cold Man, and as Vinnie said they ARE extremely distinctive. The vocoder line however is also arranging the melody of the original, though the word "tornado" transposes some of the notes. Hum my vocoder melody over the original melody, or imagine the original melody in your head as you listen to the remix. For example, the original melody, in F#, starts like this: F#, F# - G - A A Whereas my melody is F#, F# - A. Same rhythm, just leaving out the G which is only a passing note. The fundamental movement of the melody is the same. The 0:31-0:38 that follows is more liberal but again, just try putting the two melodies on top of each other and you'll hear that they're very similar. My melody ADDS some passing notes but it keeps the important rhythms and notes from the original melody. So, it's a variation. 0:38-0:54 - 0:00-0:10 from Tornado Man. 0:54-1:10 - 0:05-0:14 from Cold Man. 1:10-1:40 - These are the 0:32-0:44 chords from Cold Man, BUT I'm not just using the chords. The voicings are such that the top notes of each chord follow the original melody. Also, the rhythm of the chords is played to the rhythm of the melody. So again, if you sing the Cold Man melody on top of this section, you'll notice that all of the notes match up EXACTLY with my chord stabs. So, while I'm not using every note from the melody, I'm following it exactly and using the same rhythm. 1:40-1:55 - Same as earlier 1:56-2:12 - Same as earlier 2:13-2:28 - 0:13-0:23 in Tornado Man 2:28-3:06 - Chord variation of 0:02 in Cold Man. This is probably the most liberal chord part since the chord rhythms don't follow the melody exactly, whereas earlier they do, but it's still very distinctive. ALSO, the bass pattern (A, A, C D C D) is playing the beginning of the main Tornado Man riff at first, then its playing the next part in a 'walking' disco-style pattern (A, A, A G E G G#), which is also Tornado Man. There are some variations too, but listen for those 2 riffs and play along and you will hear that's what the bass is.. based on

Oh sorry, LASS = Los Angeles Scoring Strings. http://www.audiobro.com/ It's a very powerful string library. The full version is $1200 but it also has some less expensive versions. I love the sound of it, personally. It is slightly less featured than Hollywood Strings but some people consider it to sound better (I'm one of them!)

http://ocremix.org/info/Frequently_Asked_Questions#Technical_problems_you_might_encounter_with_HTTP_downloads It is in the site FAQ.

Hey, don't count yourself out yet, guys! You still have a full week and if you need a little more time I miiight be able to let you have it.

More fun promotional material for the game... some very awkward robot encounters.

Yeah, I'm also not really upset at his comments, then again I'm pretty bitter about PC gaming after some bad experiences trying to get Borderlands to work. His "hardly anyone" statement is accurate if you look at the grand scheme of things. In, say, 1995, who played FPS on consoles? 10% of the market? There were no options and ports of games like Doom were absolutely inferior. Goldeneye on N64 was a novelty and I'm sure attracted players, but again, it did not even begin to compare with the fluidity of PC FPS games, nor did it support online multiplayer, which PC games had for years. Fast-forward to today. There are exponentially more people that play games, and the metrics have pretty much flipped. Now that console FPS games are technically matched to PC FPS games in all important areas, not to mention excellent matchmaking and online play, most people ARE playing Halo, Gears of War, and Modern Warfare on those platforms. It's all relative.

Yeah, but it's like that with all their new libraries. They price their products at a premium at first because they know working composers and other pro producers will buy it pretty much immediately. Then, once they've tapped that segment of the demand curve, they move down on it slowly to get everyone else. Brilliant, really.

I assume by "techno" you mean the old "techno" genre with orchestra hits and 909s, right? Not electronic music in general? If the former, who cares? Why bring up semantics? There is a ton of extremely unique electronica on OCR. Most remixes do NOT follow modern trends. If you listen to the current Beatport charts you will hear a lot of extremely homogeneous music with very little melodic or harmonic content, just big thumping kicks and wobbling bass. You will NEVER find tracks like this: http://ocremix.org/remix/OCR01225/ http://ocremix.org/remix/OCR00928/ http://ocremix.org/remix/OCR01918/ http://ocremix.org/remix/OCR01547/ http://ocremix.org/remix/OCR00211/ http://ocremix.org/remix/OCR01319/ etc. I could go on and list all the other amazing electronic and hybrid pieces here, but I think they speak for themselves.

I bought LASS last month and definitely have not regretted it. While I can't speak to HS/HS Gold as a user, I preferred the LASS demos and the system requirements are really not bad at all.

Yep, absolutely!

Teaser video #1

Welcome to the site, Greg! The vocalist in question is Jillian Aversa, formerly known as pixietricks / Jillian Goldin (we're married) You can check out her ReMixer profile here: http://ocremix.org/artist/4659/pixietricks And her website, which among other things has her two albums of original music: http://www.JillianAversa.com/ Enjoy! EDIT: CURSE YOU DOUG!!!!

Use the FL Extended Memory EXE, as mentioned above.

As if that weren't enough, another prize has been added for 1st place: http://www.uhbik.com/

Haha, thanks Will. I've been getting that a lot lately for some reason. As a quick update, feel free to post if you are interested in joining - I'd like to keep this topic active as the deadline is relatively short. To sweeten the deal, I'm seeking new prizes and have already added the following to the pool: * Any Impact Soundworks sample library, to the grand prize winner * My entire discography (6 CDs) to the top 3 * Any 3 of my albums to #4 and #5 How do you like them apples?!

The production here is definitely solid, though the vocals sound a little muddy/buried at times. Very 'indie'-sounding While it's high time we had a successor to "Music of My Groin", and I love Shael's stuff, I'd hate to give a free pass to this mix when if it were anyone else I think we would NO it right away for being an almost direct cover (and in fact it actually simplifies the original by taking out some of the harmony parts.) Really pains me to say it since I love the track, but in all fairness I have to go with a NO

Thanks for the kind words, both of you Exo: Yes, we definitely want to do more world instrument libraries - we're thinking about Appalachian instruments (hey, it IS part of the world) as well as Persian ones. My goal is to eventually make a super ethnic collection, sort of like Ethno World or RA except 10x bigger since everything is much more deeply sampled. In the more immediate future, we're strongly considering a Bulgarian choir. Nase: We probably won't lower the price of KN anytime soon, but we definitely WILL do some nice bundles (eg. Koto + Sitar = $169 instead of $200) and with the survey coupon you get 10% off anything. So, keep your eyes peeled and we'll have some opportunities to get it at a better rate. As for brass, it's been brought up with us a few times. There are some REALLY strong brass libraries out there for pop stuff (Chris Hein, WIVI, Sample Modeling) which makes it a little scary but I agree, nothing really in the <$100 range.