DarkeSword

Stardroids are this week only. Next week will be something else.

You declare it when you submit. Submissions rules are all the same, you still have to put the artist information and all of that. I'm just saying that I don't need anyone to pop in and say "I'm remixing this week" because I don't actually keep track of any of that while the round is progressing.

Just a quick note: you are not required to make your Stardroid source selection publicly, nor are you required to declare who is remixing for your team this week. Also of note: the remixing order for your team does not have to be the same as Block 1.

All 14 remixes were submitted this week within the deadline. Congratulations to everyone on another full week! First post is updated with new sources! Let the War begin!

I have Schrack's remix. Waiting for Handsmom Devils.

Xarnax and Zerothemonster mixes in. I have 12. Waiting for 2 more.

I have 10 remixes. Capitals of Science - MindWanderer - Flush the Sky (Toad Man and The Moon).wav Flying Dog Platform - Brandon Strader - Going Commando (Commando Man and The Moon).wav Hard Men 2.0 - Jakesnke17 - Stone Cold Rock - Stone Man and The Moon.wav Robot Master Royalty - ladyWildfire - Lunar Storm (Tornado Man and The Moon).wav Robot Museum - Andy Tunstall - Ducksicles in Space (Freeze Man and The Moon).wav Rush Riders - Cosmic Sounds feat. timaeus222 - 'Moon Walk' (Crystal Man and The Moon).wav The Average Joes - shadow24 - Celestial Shimmer (Spark Man And DuckTales - The Moon).wav The Beat Masters - Gario - Precious Moonrock (Jewel Man and The Moon).wav The Gobots - DrumJ8 - Ganymede Cactus (Needle Man and The Moon).wav The Robutt Masters - Tuberz McGee - The Moon is Dumb (Solar Man and The Moon).wav Send me your remixes BEFORE 6PM EDT. You have about 18 minutes left.

Always submit. If you don't submit anything, you get 0 points. Even if your mix is short and incomplete, you get your 1 participation point.

This remix is so bad. xD

I have 8 so far.

Yeah everything was super-competitive this time around.

Scores are done for round 2. Nice job everyone.

Yeah it's fine.

Hypothetically, if it's just a matter of using the material he's already created, I could see the other hypothetical competition that doesn't actually exist allowing it. Seriously though, what's the actual problem? xD

Guys, I'd like to just say that the "how people should be voting" has gone on a little long now. Remember, it's not anybody's job to make sure people are "voting properly." I'd like everyone to just focus more on working on their tracks for the week. Even if you're not mixing this week, you should try to help your primary mixer.

I keep it public right now because it's much easier to manage that way.

No. Thank. You.

Less vote talk, more reviews.

I didn't actually click any dislike button. It's actually pretty good. And no, just because it was used in a crack intro doesn't make it a video game song. It wasn't written for inclusion in a video game. It's not part of the Worms 2 soundtrack. Barkley didn't have any original music written for it either. In any case, you shouldn't really be calling anyone on the site a faggot, especially not a moderator. I think you need a couple of days to cool down. Take a vacation.

Title your threads with accurate information. Don't trick people into listening to your music. Also, not really a video game remix. Moving to PYO.

This is something that will never happen, and it's not something that's up for discussion or debate either. I absolutely refuse to omit artist information from the metadata. I'm not going to have unattributed tracks floating out there in the wild. Absolutely not an option. Period.

The real solution is to just do listening parties.

You don't know the story to Burial at Sea. All you saw was a trailer. And the "bullshit about different lighthouses" is literally the entire point of Bioshock Infinite.

Source usage is the most important criteria, but it's not the only criteria. Like we discussed before, really poor production is going to kill the desire to listen to a remix, and brilliant arrangement isn't going to be enough. Remember, the two other criteria that I specifically point out in addition to arrangement are "production" and "enjoyability." And 30 seconds is a long time; you really should be able to hook someone into listening to the rest of your arrangement in the first half-minute, even if you haven't gotten to using one of the sources yet. Also I want to make it clear that the voting guidelines are just that: guidelines. They are not voting rules. Voters are not a jury, and nobody's going to declare a mistrial because the jury didn't consider all the evidence properly. Guidelines are provided to give people an idea of the goals of the competition, to hopefully make them consider more than just one thing when voting, to get them to try and listen a little more critically. But in the end, we can't police how people are going to vote. It's literally impossible to do unless we ask people to justify their opinions and then only count their votes if their justifications are good enough. I think everyone can agree that such a process would be patently ridiculous. I would hope that voters would give each entry at least one full listen through; I personally make sure to listen through each entry, regardless of how good or bad it sounds. But everyone has their own methods, and in the end, everyone's vote counts the same.

Yeah that's not what parallel means. Parallel doesn't describe intervals, it describes harmony. If you have a melodic line, and then you write harmony for that line where every note is exactly the same interval from the melody, that's parallel. And it doesn't matter what the interval is; it could be perfect fifths, minor thirds, augmented fourths (i.e. the tritone), etc. Here's an example. I've got a C major scale playing, and for the harmony, I have parallel major thirds playing on top of it. E F# G# A B C# D# E C D E F G A B C Notice how we basically ignore the fact that C major doesn't have any sharp notes in its key when writing parallel harmony, because we're specifically writing a major third up from every note. On the flip side here's what we call "diatonic" harmony. Diatonic refers to staying within the key. E F G A B C D E C D E F G A B C Notice how as we go up the C scale, the thirds on top switch back and forth between major thirds (C-E, F-A, G- and minor thirds (D-F, E-G, A-C, B-D). The harmony on top is staying within the C Major key. This is the kind of harmony you usually hear in songs.