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Digital Coma

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  1. Hi all, This is Digital Coma, the "director" or organizer for this album. It's been more than a decade since I was last involved in OCR and Kong in Concert feels like a lifetime ago, but I thought I'd drop by and say a few words after all these years. It's pretty neat to see that KiC still has an audience almost 12 years on. Looking back, it's safe to say that I didn't always know what I was doing with what was to be the follow up to OCR's very first remix album. We did things on the fly, we struggled to put together a team, and there were plenty of mistakes made along the way. But what started out as a small summer side project with no lack of naysayers and haters ended up a surprisingly big hit, and in the end we had a solid homage album whose impact in the community I'm happy to see continues today. I won't say much more since I like that there's some legend surrounding how everything came together. But I do want to give thanks to everyone who's enjoyed the music over the years, and a special thanks to the remixers, djp, and OCR for making it all possible. Cheers, DC
  2. I think the proper jazz classification for this would be "a mess." The arrangement is packed with slight harmonic and melodic expansion ideas in its short time span that's mostly clutter, and the instrumentation is GMIDI grade. NO
  3. A successful attempt at straying completely from the original theme, too much so in fact. The drumbeat is horrible. At least the instrumentation is thorough. Short and basic original song. NO
  4. Marble Dancefloor had simplicity going for it, but it doesn't work the same here with autopilot drums, clashing harmony parts, uninteresting synth choices, and extreme repetition. NO
  5. Don't like the canned audience noise. The thought that comes to mind is "mish-mash": instruments doing their own thing that happen to be playing at once with some random soloistic parts mixed in for good measure; a clashing and directionless arrangement. The "solos" in particular irk me as they have no place in the song and simply come and go, especially the weak Amiga sounding synth at 1:54 and again at 2:20. Some riffs and passages would be pretty cool if they were cohesive and were developed. Ending is just more of that hackneyed audience noise. NO
  6. A rather sparse medley in minor of many themes. I wouldn't mention the average quality of the samples if each didn't stand out so much in this thin arrangement; very little texture. More notably, the takes on each theme are conservative and are barely developed before the song jumps to the next. Mediocre. NO
  7. Simplistic and generic usage of synths, repetitive, and unoriginal. NO
  8. I don't think recording this arrangement on four separate pianos worked out very well - trying to commingle each "line" hurt the already fragile dissonance and sometimes created plain dischord. The actual performance of each layer is obviously fine, but together the four turned out a little messy. Interpretation and arrangement are okay, but development between each idea and theme sounds short and incomplete. Not too resolute, but going on the side of NO
  9. Very nice art. Did Ari make those CD cover pics or did someone else? Someone else, we don't think it was Rob Saunders.
  10. I'm posting for Ari - grab the full cover package including jpegs here: http://supertux.com/~aasulin/ROTC_Covers.rar The final covers that weren't released are also included; direct links to them are: http://supertux.com/~aasulin/rotc_front_final.jpg http://supertux.com/~aasulin/rotc_back_final.jpg
  11. I remember this. I told him a year ago not to submit this and to stop submitting in batches.
  12. I'm almost sure you used a midi of Fear Factory to make this because of how you left the notes unchanged and just restructured them. The trance surrounding the original song's melody is very weak and simplistic and the melody itself is sequenced badly, such as the sluggish organ starting at 1:56. So some (not even all) new instruments playing the exact same notes in differently ordered patterns with incredibly sparse drums and synths for support. Very weak. NO
  13. The mix is very, very uneventful from beginning to end, and it's encoded at 96kbps for no reason. Nothing else to add.
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