Geoffrey Taucer

No worries, it just takes practice. If this is your first shot at remixing, it's seriously impressive; beats the hell out of my first mix. And second. And third. Try downloading an IRC client (I use MIRC) and logging in with that. No problem! Happy to be of service.

Haha, no age limit. I'm pretty sure blake perdue was 14 when he got his first mix posted. The production is still not flawless, and while you've spiced up the lead a bit, a lot of the backing is still very similar to the source. Right now I think it would likely get turned down, but even if the judges turn it down, you'll likely be able to get some very good critique from the judges thread. Might be a good idea to drop in on #ocrwip and see if you can get some pointers there before you submit. Good luck!

Lol at the title. I like it. Guitar is MUCH better this time around. Still not gonna fool anybody into thinking it's a real guitar, but it doesn't leap out and announce it's fakeness, and sounds pretty decent this time around. And you did an even better job of it at 1:20. You have the emphasis in all the right places. The lockjaw cameo is cool (I just now recognized it), but I'd use more of a pluck-ish synth. Something with a fast decay after the initial attack. 2:21 is really nice. The little flourish at the transition at 3:29 is a nice touch. Haha, DK rescued, nicely done. I'd be wary of trying to fit too many more tunes into this, though; it works as-is, but try to cram in much more, and it's gonna have some real medley-itis. Final mineshaft chorus is well done.

I definitely like the percussion better. As for the acoustic guitar: you could make it sound better without any fancy samples just by adding some variance in the volume. Rather than having every note play at the same volume, change it around a bit. When a human plays guitar, some notes are louder and more emphasized, some are quiet, some almost get completely lost, etc. Try to emulate this. You'll find a little velocity variation can go a long way. If you want to really go the extra mile, you can try to emulate the way a note will sometimes sustain through the next note (ie the next note is played on a different string) and sometimes a note will be muted just before the next one hits (ie the next note is played on the same string) Well, you varied the first chorus a bit, but I'm not sure it completely works the way you've done it here; you changed the lead up, but kept the backing the same. I think the reverse might work better; keep the lead very similar to how it is in the game, but spice up the backing. Right now it sounds varied just to be varied, but without a particular purpose, if that makes any sense. The next section (starting at 1:20) is pretty nice. Same complaints about the guitar, though. I like how you've changed the chord structure and bass pattern here. The piano is also pretty nice, but has the same issue as the guitar. Velocity changes are key! 1:41 is cool, but again, the guitar is robotic. The piano as well. There are no dynamics in the performance. Just because it isn't being played live doesn't mean it can't sound like it is! Though honestly, my inclination would be to take the part that's currently being played on guitar and instead play it on some manner of synth, preferably one that morphs through the course of the riff. You can accomplish this morphing in many ways; my first inclination would be towards a bandpass filter, but experiment with other things as well. I don't use reason, so I don't know exactly what the program is capable of, but if it's anywhere near as good as people say it is then it's synths should give you many options for something like this. Haha, so the synth at 1:51 is actually a guitar sample? Well, it certainly doesn't sound like a guitar here, but it sounds GREAT as a synth! The filtering on the percussion here is cool. I'm not wild about the bass; it's too high and too persistant, and still seems to be fighting for attention rather than doing it's job and supporting the low end. Some fills in the second chorus (particularly around 1:59) could add a lot. A brief fill-in here could work on just about any instrument; another synth, the acoustic guitar, the piano, or anything else. My gut instinct is to go with the acoustic guitar, but experiment and see what sounds good. Oh, man, that dropoff works great, but I'd bring everthing else back in earlier, say at 2:21. Some percussive lead in, and the heavy stuff comes back in for the second half of the chorus. Worth trying, anyway. Transition into Winky's theme is seamless. Very nicely done. I'd look for a way to finish off by returning to the DKC2 mineshaft theme again one more time before you finish the song. The ending is definitely better this time around. Much more "oomph" than that fadeout you had in your other version.

One of my all-time favorite tracks. I'll take a listen. Beginning is a bit abrupt; needs some manner of intro. Even something very short (say a one or two second percussion intro) would work. Right off the bat, it sounds, arrangement-wise, a bit too similar to the original. Percussion is quite dead, especially whatever that is covering the riff played by the cymbals in the game. The sample is annoying, and the percussion as a whole could really afford to be spiced up a bit. The guitar sample comming in at 0:21 is not bad, but it's played very robotically. Needs to be humanized. Give it some variation in velocity, and if you have any slide notes or fret noise samples or anything else like that, you could add a lot by throwing those in (though use them sparingly). Piano at 0:42 is excellent. Good sample, very nice little riff there. Percussion is definitely better here, but still not what it could be. That ding, ding, da-ding ding ding on the bell-type instrument is already getting tired and irritating. Same witht he background synth; that needs to be spiced up, either by varying up the riff or by finding other ways to morph and play with the synth's sound. Or both. And in comes the chorus at 1:03. The samples are pretty nice here, but arrangement wise it's identical to the original. The judges tend to want to see more creative liberties taken in mixes. Vary it up, make it your own. This is just the original with different instruments -- though I will say they're pretty sweet-sounding instruments. The same is true of the following section. At 1:31, you start bringing in some variance from the original, with a nice original riff on the piano. Like the guitar it sounds a bit robotic, though. A couple of parts don't really seem to fit with the backing riff. What I would do with this section is completely drop the background riff that's beein playing for the whole mix up to this point. Drop that synth entirely, make the transition really slap the listener in the face. A sudden dropoff here could work really well, since there's been a certain sameness of the soundscape up to this point. After a brief 10 seconds of original content, you go right back to a straight up cover of the original. The transition at 1:49, though, is excellent! That sound effect leading in which sounds vaguely like a pick slide is perfect, and the addition of a new synth we haven't heard yet is very welcome. I'd bring that synth forward a bit in the mix to make it stand out more; I can hear it, but it seems like it's battling the bass for my attention. Make it stand out more. The percussion in this part is also considerably more interesting than what you've had in the mix up to this point. The repeat of the chorus works, but it needs a sharper transition, imo. A complete dropout of everything except the piano and perhaps a synth pad would work quite well here, imo. You've taken some nice creative liberties with the melody here, but I'd love to hear it taken even further. Go nuts on that piano! One thing you might try is dropping to just the piano and a pad at 2:11, and then having everything else come back in again at 2:20. If done properly, that could be very dramatic and effective, methinks. AHAHAHA! Winky's theme! I love it! Very cool. Expand on it a bit! Simply using this as a cameo at the end doesn't do the idea justice! Fadeout ending is a bit weak; experiment with that a bit. Overall you've got some really cool stuff here. I'll be keeping an eye on this one.

This could actually work pretty well. In fact, it's about the only way I can imagine this movie not sucking. In all fairness, though, there have been movies before with very little dialogue that still worked well. Castaway, for instance.

Holy fucking shit that is all kinds of awesome. I WANT ONE!

Haha, I like it! Adding to first post

I'm gonna add ziwtra, JDproject, and sixto to brad's list

God damnit you better be knocking some fucking wood right now.

Lord Exor: your complaints have been registered. And ignored. Please don't bother posting further about them, as we will continue to ignore them. To everybody else: please ignore lord exor. This shit's clogging up the project thread.

I think I'm getting alzheimer's, because I don't remember ever saying anything about (or even thinking about) a Chrono Cross project, but looking back on my earlier posts and PMs, it appears I have been discussing it with at least one other person...

Answer #1: the original track is primarily groove-based. The bulk of it is driven not by any particular melody (aside from the chorus), but by the percussion, the beat, the rythm. This, in my opinion, makes it absolutely perfect for a rap arrangement. And this is comming from somebody who, generally speaking, doesn't even like rap. Answer #2: Who the fuck are you to tell me how I should or shouldn't arrange a particular track? Lemme explain how remixing works; we have an idea, and we run with it. It's not about conforming to anything, it's about taking whatever ideas we have and bringing them to fruition. I thought the mix would work well as a rap/rock blend, so I (with jose's help) arranged it as a rap/rock blend. Got a problem with it? Don't listen to it. Simple as that. But if you're gonna come in attempting to read our minds and claiming that anything with vocals is just an attempt to conform to societal whatever-the-fuck, then kindly do us all a favor and go fuck yourself with a hot iron.

Nicely done. Excellent choice of sounds, and as always, excellent work on the percussion. I like.

OH SNAP! tencarsinlowercase

Recycled southpark joke, but Yahtzee did it a lot better than southpark did, so it's ok. I rofl'd

It's not final; that's the rushed-out-the-door-so-I-could-get-it-submitted-for-dod-before-the-deadline version.

It's good, but I think it would have been far more effective if you'd given an example of a genuine choice in a game, rather than spending so much time on the idea of problems diguised as choices. Nevertheless, worth watching, as are all your videos. EDIT: Txai, evidently you don't have a choice in this matter

Interested

Steel Drum Rhumba is now up for grabs.

This, and some additional characters

And it is all kinds of awesome.

What the fuck time sig is sagat's theme?

I don't think he's pulling a prank; I think he's completely serious.

I predict that if dave doesn't post in this topic, it means he's already signed an NDA for another soundtrack. I could be wrong, though.