Monobrow

I just wanna emphasize... The first :45 seconds are kind of long for an intro. So I agree... Some hints at what's to come there might help. Also those really high synths coming in at :21 REALLY pierced my ears a lot. Some people are more sensitive to those frequencies (also I'm wearing headphones), so please, tone them down, it actually hurt lol. I'm getting clipping with lower tones at around 1:45 - 1:50, also those synths might be a LITTLE too overpowering by that point, they drown out the piano really fast, and I understand that they are taking the wheel, but they sound too flat for the duration. Maybe give them a bit more movement in tone (head towards treble a bit more) and maybe start adding some elements (like a throbbing eighth note something under them that slowly pushes the mix forward) instead of just starting w/ sidechaining a those synths after the pause. Hope that makes sense... The synths are whole notes, they flatten the progression... Finding a way to subtly drive into the next section would help. Also, by 3:10, I'm starting to lose interest in the song. By here, your song is begging for some accompany to those gated synths. Get a lead in there, solo around them, accompany them in the progression. The song seems like, the further it goes, the more it tapers off into just a beat and a chord progression... It's really missing something. Also holy shit at 4:44, that LAUGH lmao. Awesome. Why didn't the rest of the song have stuff this interesting? Good luck *_*

Well, first thing, I think it's way too low in volume. A few db up in volume would help. I have my volume all the way up and it's still just too soft. The hat percussion element is a little too exposed. I don't know if that xylophone works, especially when it runs up the scale, it sounds way too fake. I also think when everything comes in, it all gets way too cluttered. I'd EQ some instruments a tad, try to get more separation. The reverb is very far away for things like the harp, which is fine, but I think a few things (like the flutes) could sound a bit closer in range, otherwise the song is at risk of sounding flat. It's a nice arrangement, it just needs more work, and a perfected and deliberate sound.

This is insane. You are insane. :J

What a great song to post first with! You guys are in for a treat!

You guys really gotta kinda put this into perspective. The reason why you're angry is out there, but the hostility in general right now I feel is unwarranted. No one has really responded to you in the manner you guys are posting about people from this site. It's your reasoning they don't understand, not everyone is gonna see it the same way. The album will be out, but the color here is extremely negative right now suddenly. It's something that really shouldn't be in play, in anticipation of a release, so try to just let go. Let all the positives outweigh this... Remember it's a collaborative effort among dozens of people, releasing it to you with the best quality they could, 60 tracks, art, website, and trailer, everything else. You've made your case, but let's not jump to conclusions as to the motives of the people who have done this. Like I've said before, I can understand the reason why some of you are peeved, but what I don't understand is the level of anger I am getting, and the way it is spilling into the view of the site in general. Again, stop mistaking ignorance for malice, Wes, and the rest of OCR, obviously didn't know it would peeve some people, so let this stuff go, and realize no one here "tried" to do anything they thought would hurt you, they just probably didn't realize you'd take it this way. It's been done, it's over, let them get the likes, and then move on with your lives *_*. Either way, its starting to go past the level of construction, and into just an insistence of who is right or wrong. You guys all have your perspectives on that, so just agree to disagree, and stop attacking each other. Maverick Rising will come out, and it's gonna be great, regardless of when/how/why.

Hey guys, I know you have been waiting, but just put things into perspective a little bit. It's a free album that you will enjoy. You like OCR, Wes is just asking for support for OCR. He's not holding the album hostage, IMO I think he's just utilizing pre-release time to help spread news of the album, and also help OCR out. Maybe it's because you guys have perceived the album being moved back again and again as waiting so long, and it's a respect issue... But try to remember that everyone here is doing this for free, we are and have, tried our best to get this album out. I know Wes, from behind the scenes, has been on top of getting this album out ASAP, and even though there have been delays, you're not going to remember the delays a year from now when you're listening to the album, you're going to be listening to the album. So, I understand why you guys might feel this way, but I say to that, lighten up a bit. It's not worth approaching this release from that perspective. At WORST, I would say this is a move from ignorance to the feelings of the audience that is waiting, NOT maliciousness, as a lot of you guys are making it out to be. Saying it's a dick move, implies that Wes knew it would piss you guys off. Why would he want to do that? Be happy! Take a step back and breathe a bit. I've been waiting for this album too, but I'm not getting offended here, and I'm on the album, I have a song that's been waiting over a year to be posted. I adjusted my perspective. Why should I be pissed? When it all boils down, for real, why?

I think it's really hard to say whether or not that would happen, as it's really a subjective process. But to me it seems fine. So IMO it would probably be treated as an exception, or should be at least. The problem here is that music arrangement and the actual production are usually really hand in hand. From checking out the WIP forums a ton, I can usually say that 90% of the songs I listen to that have production issues also have writing issues that are also issues that are closely intertwined with how the people use their samples. Things like clipping, instrument balance, and just really exposed samples, or out of place instrumentation choices that don't seem to fit, are usually a real problem with audio in general. But when someone uses (what has been deemed) lower quality instruments that do fit together really well (such as chiptunes), that you can turn the volume up way high, and they ring clear as a bell, I think that's mostly what I'm talking about. I also think that production shouldn't go hand in hand w/ samples in terms of judgement, unless it is necessary, and there are real problems with how the samples are used... How you use what you have to me just seems more important. Is a piano soundfont that is muffled automatically disqualified? No it's not, because we have people like Darkesword utilizing free soundfonts still, even if, especially in 2012, they do show their age. He's maximizing their effect. I think the same should be true with chiptunes. Some people really like them, some people do not, some people consider them a great artform, others don't... I dunno if that's really what should be decided, but what I do know is that these people are utilizing their samples and instruments VERY well, I can blast them in my car and feel the bass and the treble, and really get into them, if they are well done. There's something that I enjoy about them that is different from other types of song atmosphere. I have used chippy samples in my songs before, but I only do it for a certain effect... I know that my production of actual chiptunes as a synth (like danimal is saying) will never approach their actual skill in utilization, but that's because I'm not writing in that way. Within the chiptune scene, there are bad/lazy chiptunes and great amazing chiptunes. The criteria behind a true chiptune is a challenge, yes... But it also IMO has greatly expanded the creativity of the people in the scene, in how they get around it, so much in fact, that things are being done that no one ever thought possible. I just wish OCR had been a part of that scene all this time, instead of kinda holding it at arm's length as it has evolved. I agree w/ danimal about an approach for chiptune criteria that regards them in their own specific makeup, or at least a stance or perspective that is a little less biased on what "good production" actually is, in terms of previous OCR audio norms.... OCR does this automatically with live recorded instruments, it's an inherent thing... Someone records something, people judge how well it was recorded, if it fits over top of what they are doing. The same with vocals and how they are utilized, you guys wouldn't post an over-exposed, nasally voice over an ethereal track unless it somehow really worked. You should consider lyrics, how it fits in the track, all of that... Something that isn't needed for an instrumental track. The piano point is good... And I agree w/ Sam, some posted songs are really simplistic, in terms of piano skill and recording... But a lot were posted because there was a time when live-recorded piano was kind of a big deal, and piano samples were just not adequate at all (I'd argue that in some ways they still aren't), but anyway... I wish the same treatment had been given for chiptunes, entering the OCR arena, but I feel they weren't, not because they aren't a viable source of music, but because they were ultimately just not considered as such. I don't think you're actually changing the standards here, but more changing a perspective and an approach to (not personal, but OCR's respective consideration of) the chiptune genre, if you were to YES an Shnabubula song, I think it'd be a real shame to treat it as the top 99% only getting through. I promise I'm done now lol.

Kyle for best posts lol

Yeah sixto... jeez!

Exactly, obviously people feel weird about their previous work (sorry dave, it was BURNING IN MY HEART), but the point about "why" is what my question is about, as you have said *_*.

I think I understand what you're saying, but I am not sure if you got what I meant in my post. Ultimately, the subjectivity and disagreement is what it BOILS DOWN TO, but the perspective going into the "standard" is what I'm taking issue with. I don't really think it felt that way from observation though. Dave did bring up the point about MIDI, and that was a MIDI submission that I disagreed with, so my problem really was more about the bar being set against a REALLY GOOD MIDI submission in the form of a standard mp3. To me that's more of a hard standards issue. Of course, yeah I feel that way about the song if I like it, but I am also speaking from a perspective that I think I've heard songs from 2005 with audio quality issues that (again imo) are more pressing and kind of sound awful now (such as outdated sample sets, bad quality recordings, etc) that were posted, with so much less skill involved (imo) in comparison to Pentagon Path. I do feel like it was treated a bit differently in the end because it was MIDI, and how good it was for MIDI ultimately didn't matter because it was in a way setting that precedent. It was written for OCR (from what I have gathered), and was an attempt to adhere to the standards. So to answer Dave's question about MIDI earlier, I'm just here saying that even though it was in 2005, I'm gonna take issue with it to a certain extent, even if I understand the point.

That's a bit of an oversimplification. You can keep saying they are "stating" their argument etc., but you need to acknowledge that this is a debate that is happening for a reason, getting people to understand, and also being open to criticism is a good thing. Dave's response has been very honest and appreciated. Do you really think I don't "get it" or do you think I might be trying to have a discussion about the actual merits of the previous criteria? In other words, these kinds of interjections into debates are detrimental and exactly why having conversations can be difficult in the first place.

Not to belabor the debate, but for the record, I also had a problem w/ this decision. I know it's old, but it really hit a point with me, especially back then, when the audio standards weren't quite as formidable. (as samples have progressed quite a bit since then) I appreciated the arrangement a TON, and while I know dave (blitzlunar) has moved on since then musically (just like Sam has w/ Espergirl), and they can both obviously do better... For the time, they were their best feet they put forward, and that has since been lost and not experienced by the people that would have enjoyed knowing of its existence, which certainly can happen in other arenas and forums (youtube, thasauce, etc.), but would have a much wider general audience at OCR. Anyway, at that time I was extremely disappointed. It's not that I don't understand the criteria completely, it's just that when I look at the song, I am seeing it in a different light. It was trying to adhere to OCR standards, and on a lot of good points it did. It's an arrangement, and a damn good one. It's enjoyable to listen to. One of the better possible arrangements of a greatly appreciated, but little remixed tune. I just felt that all of the positive points would outweigh the one real negative aspect you guys had against it, and from the looks of it, most people did really appreciate the positive aspects. But even when acknowledging this, the song was ultimately turned away, midi-esque production resulting in disqualification. The skill behind the actual midi production notwithstanding - which I understand, again, and get that trying to implement a standard is hard, especially w/ a watchdog mentality (because music does create a lot of emo). BUT, isn't that kind of what having a judges panel would be for, can't (and I am getting that vibe lately more) there be a lean more towards "exceptions" to the rule, and let the grey area of a decision be more defined by the actual merits of the song itself individually, more than creating precedents and standards themselves. I know it's seen as gesture to keep it "fair" to everyone, but not everyone is writing the same song, using the same samples, or recordings, with the same skills. That's always been a kind of internal question I've had about the entire system. So I guess my point would be, having a balance between maybe a HARD set and a SOFT set of criteria. The one really large thing Pentagon Path had going against it in the panel was that it was midi-ish, had issues with the samples, and that pushed it over the edge. But was that really detrimental to the song, or did the song capture that feel and atmosphere that Mario Kart in general has conveyed? I feel it was the latter, and again, should have been an exception to the rule, not because I disagree w/ the standards and what judging and OCR is all about, but because I think it could have been left more for the audience to decide. I know so many people like me that would have enjoyed it, and not necessarily "despite" the production. The subjective part came more IMO w/ the opinions on the actual arrangement, from complex and incredible to disjointed... The point being, that wasn't the deciding factor. Some people are going to appreciate it, others are not, but the skill involved wasn't really called into question. Anyway, it's certainly nice right now to talk about it though, and I'm not insisting on anything, just something I've thought about. Edit: Oh yeah and for reference of the song I'm talking about: keep in mind, it's from 2005.

Then why not pass Espergirl *_*. It's about one of the best straight chiptune arrangements you're going to get, as an example of a chip arrangement. Whether or not the chiptune is half-assed hasn't come into play yet in the criteria, because it's NO'd by default.

To Jose: Yeah *_* Also I'd take chiptunes over dubstep any day of the week. But that's just me.

That's why you let them submit, and you judge it. If it's half assed, you don't pass it

Well, it depends on how you use the sample really. If it's like 1 minute of actual melody played from the game, then probably definitely no. If it's 2 seconds of something distinctive from the game used creatively, then yes. It's just about discretion. I lean towards no because I don't want to answer for OCR *_*.

I'm not 100% sure, but I'd lean towards saying no.

Hey there! First, I'd like to establish that I'm not familiar w/ the source. So, the intro is cute. I do think though that the beat might be a little too over-plain there. I get the minimalist thing and the drop, but I think the transition could be a bit better. Like, maybe introduce the kick on the last note before the pause, and work on a pause/beat/pause break from there. If anything, the snare hits just really don't work with me. Bass or kick instead plz. The high-hats are a bit too exposed and probably a bit overpanned. I also hear some clashing of the bass and kick, and some clipping (I am on headphones, but there's definitely a frequency problem there I think - do you have a limiter?). The piano has this cute muddiness, but the higher notes it plays, also are clipping a ton, because they are competing w/ the lows for some reason... Also about the piano... The muted effect is stylistic and nice, but the problem is, what I'm hearing is the highhats, because they are the instrument that taking up the treble the most... This is not a good thing, because that means they (by contrast), draw a lot of attention to themselves, instead of the melody. So draw them back a bit, and possibly bring in some dry/slightly wet synths to compensate for the lack of high freq ranges, if you don't want to unmute that piano. You might want to just up the higher freq EQ on that piano though, and save the cool muted fx for the rhodes you bring in later. You could go back and forth. But yeah anyway, major clipping in this. Turn the song down, analyze freq clashing between the kick and bass, EQ appropriately (bring up freq that sound good, lower ones the other is using that you don't need), and make sure they are not above 0db on your limiter, it's causing distortion on your song. I also recommend, with whatever you choose, EQ'ing that piano (the lows) back a bit, because from the sounds of it, you don't need them anyway, and also make sure whatever synths you use, aren't also competing for attention with the melody or the low end. The writing is nice, I like your deliberate choices w/ your beat. Keep it up, hell, go for more, mix it up. The breakdown section sounds great. I love that piano writing, but don't be afraid to use that left hand. The part after that is nice too... But again, instrument balance and clipping problems are keeping me from enjoyment. Good luck w/ it and it was interesting!

Yo: The intro is pretty cool. I think maybe the 2 repeats may be a bit too long. :26 comes in... There's some dissonance there. Also it's not in the same key as the intro, which kind of throws you off a bit (not in a good way). The brass samples IMO don't really work, they are just too jarring in comparison to the atmosphere. If anything, I'd cut them out of the mix, or at least, save them for later after a build. Try a synth there instead, something that really builds before you introduce your later synths. I also hear a choir there, behind the brass... IMO that would probably sound better (and not lost) if the brass were cut. Also, one of your notes in the ShinRA progression is incorrect, and is supposed to play a step up from the previous note. (1:02/1:03)... Whether it's intentional or not, IMO it's not a good choice. Also that synth that is playing eighth notes up and down, it seems kinda corny in comparison (again), to the vibe of the rest of the song. Try some different settings, experiment with a better replacement there. Also I think the soloing it kinda has throughout the middle of the song may be a bit half-hearted... Don't be afraid to get some faster note-soloing in there, just feel it out. The guitar comes in, IMO it does work w/ the vibe you have, so kudos there... Might want to work on the EQ though, it's a bit overpowering. Overall, not bad!... Keep working on it and see what you can come up with!

Well, that was interesting. Cute synth I think the weird time sigs (with the melody) don't really work. The drums are playing 4/4, but the melody isn't syncing up w/ it. There are points where they sound like they could work, but some notes just don't hold long enough. For example, I get into your groove, then you don't hold the note at :16/:17. I think if you held it 2-4 beats longer, it'd help. In other words, I think it's not so much about the time signatures, but which notes you are emphasizing that takes away from this. I'd approach it with a more candid thought-process. Really pay attention to where your drums/melody/emphasis (how they affect each other) on rhythm should be. Even with non-orthodox approaches, you can feel out more appropriate accents etc, on the beat.

Often overlooked OSTs of awesome: Mega Man V (NES) Mega Man X2 Guild Wars Baldur's Gate II Lords of the Realm Ninja Gaiden (XBOX) Gradius III and V Castlevania: SOTN Mystical Ninja Starring Goemon (N64) Silent Hill 3 Silent Hill Origins (PSP) Xardion (SNES) (4 songs) Sim City 3000 E.V.O (1 or 2 songs) Jurassic Park (SNES) Cave Story Dragon Warrior (Quest) IV Skate or Die 2 (NES) Maniac Mansion (NES) Machinarium TMNT (NES) Turtles in Time Kirby Superstar Mother 3 Zelda II Legacy of the Wizard (NES) I am leaving out a ton, but a lot of these I consider A-list, but not talked about often enough :J

I have to agree with the beginning synth. It's way too in your face and it annoys. Also I don't think the delay is doing much, other than muddying up the mix when other elements come in. My suggestion? Either lose the synth and try something else, transpose it down an octave, or get a phaser or flanger on it, cut out some of the higher frequencies, and get it arpeggiating some deepness and motion. That fake guitar is also very annoying, but more importantly, when it comes in, instant clash with the synth. They are competing for the same freq range, and thus the song becomes very gritty ear piercing and screechy. The drumkit is pretty cool, though the writing could be a bit more varied. The bass is okay too, though the bassline is a bit plain. So yeah, work on your sound. The quality sounds okay, but not the balance. And by at least the fadeout, get some arrangement going, take this song places, right now it's very cover-ish. Good luck!

Txai gets super creds for Yuki Iwai. MMX (collab) and MMX2 (sole) composer of AWESOME! Also one of my favorite OSTs is Mega Man V by Mari Yamaguchi (also did Breath of Fire). Also did anyone mention Yoko Shimomura? (j/k) She composed for Super Mario RPG and Parasite Eve AS WELL AS A FEW OTHER AWESOME THINGS! Michiru Yamane, I'm gonna echo, if not ONLY for Castlevania: SOTN (that enough is alone), but her massive body of awesome work of awesome *_* Also my bio by Rexy says I have one remix, that's gonna change soon

Yo. Okay so I like this, it gets progressively better. My problem is there are a few weak parts that would make me as a listener, not want to wait for the song to open up, as it really does. 1:10's transition is weak. It's lower in volume, so I suppose it's kind of a cool down section, but IMO it doesn't really give the listener a real chance to breathe before your cool bridge. Upon listening to it some more, I don't think the arpeggiating synth there should be the forefront. Really lower the volume of that, is my suggestion, and maybe slowly fade in some synth choir chords instead. Maybe get a real stereo/soft/reverby instrument to accompany the choir, let it hint at the melody, or build in rhythm, hell maybe even add a couple other zelda nods if you can... Something that gets out of the repetition. You need a cool/soft build until your bridge that adds emphasis to when it drops. The point is, with a cool-down, even if it's not a big deal, you want to get the listener to feel comfortable w/ what is next to come. That whole section until 1:40 just needs another approach, because it is just kinda bland. Another problem I have I think is: :36, which is earlier and very similar... It's just way too subdued in the wrong way. The gated subtle synths are really nice, but I think maybe the gates are not necessary yet. Maybe keep them flat until :45. Same with the arpeggiating synth, it's way too exposed... Those elements are just too synth 1 for me, relying on old hat tricks that may not be necessary until your beat drops or main sections. I feel that again, since it's kind of a weak/building section into your main, it takes away from the song overall. You wanna establish a mood, that really brings out what things are to come. Up until :56, the main lead coming in isn't anticipated, so it loses its strength. Be more deliberate in your build. It's hard to talk about actual writing, but be mindful of CONTRAST as a tool that can help the following sections stand out more.