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Xenon Odyssey

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Posts posted by Xenon Odyssey

  1. OH NO, no extra bonus points?! HOW WILL I ENSURE VICTORY NOW?

    Well you are in luck! Because Tarrasque has added a bonus: if the two sources you pick are from two different generations, bonus points for you! By two different generations, we're talking an NES + Xbox, Genesis + PS2, etc. Also, if you travel to PC land, then you categorize by decade of release (which isn't that great but what else ya gonna do).

    SO GET MIXIN'!!

  2. So Brunzo was our (l)on(e)ly entry last month, but he allowed Tarrasque to write the theme this month, and this time it's Mash-Ups! Any two sources, and create either the most awesome thing since awesome, or the demon spawn of a musician's nightmare! THE CHOICE IS YOURS!

    And Tarrasque didn't give a bonus, so unless he does, there isn't one! No extra points this time!

  3. So, did Urban Flow get permission from Ztrop to use his arrangement? Cuz that's pretty uncool to just take that midi, upgrade the sounds, and re-call it your own without any recognition if he didn't.

    You have to refresh the page after you click on the midi link to get it to play.

  4. http://ocremix.org/forums/showthread.php?t=31675

    If you do managed to get a group together, I'd love to get my

    chart re-recorded, and I've had a couple of ideas in the past that I could probably come to fruition with for charts.

    I will say this: in the OverClocked Plaid Muffins, we have difficulties sometimes getting four horn parts recorded and in the right hands for mixing. I couldn't even imagine attempting to do that with 17 people. Plus, you'd have to make sure everyone's recording gear is up to snuff enough so it all sounds good when put together, which I imagine might be a mixing catastrophe waiting to happen.

    Don't get me wrong; over the years, I've thought about this same idea, but after going to art school and evaluating the situation multiple times, I really think the only way it would work is if you'd all lived within the same city or so and could get together for actual rehearsals, rather than send .wavs over the internet. It would probably be for the benefit of everyone and the music, too.

    This is not to deter you or anything; I'd just like to put out my own observations on this topic which seems to crop up every so often. As much as I wanted to start and maintain the 'OverClocked Big Band,' I retired that desire when I realized the amount of effort it would take and how everything would have to align. Also when I realized I'd probably just want to do covers too, and of course, OCR doesn't do those ;)

    So, I wish you luck in this endeavour! You will probably need it, truth be told. :) And if it does come together, you've got an arranger over here that could lend his pen.

  5. ProjectSpam was our winner last month, and he gives us the theme of over 18! Basically, any game that is over 18 years old is fair for remixing. For reference (and perspective for some), Super Metroid came out in March 1994, so that's not eligible to remix. However, Sonic the Hedgehog 3 came out in February 1994, so that is eligible! So rule of thumb, if it came out before Sonic 3, it's game.

    The bonus this time is POWAH BALLADS. Are you a bad enough dude to make a remix like Vigilante? Now would be the month to prove it!

  6. I believe because of the whole 'we lost the originals source code' excuse that the physics were modeled after Sonic Rush, which of course was nothing like the Genesis games.

    Of course the real question is, will it have lock-on technology with the first episode? Are they going to overhaul the first one to better fit the second one's engine? Are they going to bother releasing all of the episodes down the line to create the *actual* Sonic the Hedgehog 4? And of course, are they going to hire gecko as a composer since this cookie-cutter attempt at 'retro' is laughable at best.

    I mean, I would hope SEGA should realize that slapping your mascot in a car insurance commercial doesn't do much for sales if the product you sell is shit to begin with. But they have said they've fixed all of the complaints, so we'll have to see.

  7. I agree with Moseph and WillRock. But it's still a bit different these days, especially since that Nicky Minaj youtube video has made (it appears) tens of thousands of dollars in just 2 days, and I assume will eventually make hundreds of thousands, perhaps millions of dollars.

    Music can play to different aspects of life -- some music, Stupid Hoe perhaps, is loaded with a lot of really specific social meanings and signals, and not just in the lyrics. The Nicky Minaj character, the ways she inflects her voice, the genealogy of the production, the repetition, the video . . . it all works together to create meaning -- even if you still think it's crap.

    But, of course, if we wanted to look at that piece through the lens of purely "musical" characteristics (it's up to you to define that), then yeah -- definitely crap.

    This battle between innate musical characteristics and social meaning has been around for a long time in music criticism, (ethno)musicology, etc. Old fogies like Schoenberg and Theodore Adorno argue that music should be criticised (and ideally consumed/experienced) based on the innate musical characteristics present in the piece: form, motivic manipulation, etc. More recently, (ethno)musicology has emphasized more the social meaning of works.

    But regardless of how academia has evolved, I think it's obvious that, for whatever reasons (technology, etc), social meaning can take music a lot further these days than it used to, and the industry has grown around that. Hence, it's easy to say a lot of music sucks these days -- especially when you're not the targeted audience of meaning.

    Also -- with the youtube setup -- anything freakish is potentially valuable, so there's that.

    Since we don't have a feature on these forums, I like/endorse this post.

    Really the only thing radio and mainstream music has going for it these days are the massive budgets and social trends that they either cater or inflict upon the masses. That shit cray.

  8. I listen to the music while I play the game, then wait twelve or so years until it randomly pops into my head and I go 'oh man, that was a sweet tune.'

    But usually, I doodle on my keyboard until I get a cool idea that reminds me of something, and then I go from there. When I do chiptune stuff I usually make it up as I go, since I don't really work on the keyboard as much.

  9. Every now and then I'll have a binge where I go through my old stuff. Usually only the stuff that I think had quality to it (I have a lot of stuff from college that I should probably sequence/track so it doesn't exist as manuscript forever). If I'm drunk then I'll include my OLR shit and other horrible things, just to giggle.

    My more recent stuff though I'll listen to like once a week since, as most people have already stated, I write music that I like to listen to!

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