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Mega Man: The Wily Castle Remix Gauntlet 2013


DarkeSword
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I'm always looking forwards to Dustin's stuff.

I wonder what this tendency of mine is. I think I've branched out quite a lot in these compos (except for that GRMRB where all I did was spacesynth)

I actually kind of liked your spacesynth stuff, although my favorite of your compo tracks was "Cold Dreams," the Blizzard Man/Mr. X Stage song.

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I actually kind of liked your spacesynth stuff, although my favorite of your compo tracks was "Cold Dreams," the Blizzard Man/Mr. X Stage song.

That was some old fashioned dream trance. But for these compos so far I've done dubstep, spacesynth, italodisco, progressive breaks, trance, other weird shit i can't put in a definite genre (mostly because it was crap) and now Funk/Disco.

I guess the tendency is electronic music in general :P

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I'm dedicating my Tuesday night to getting most of the song written. By night I mean 11pm to 5am. Am I going to trash talk? No. Do I intend to win? No. I am not taking this competition TOO seriously, and it's not because I'm some arrogant ass, and I don't think any differently of anyone here who takes it super seriously. We're all adults and we can do what we want, it would be silly to judge. My goal is to make a nice little follow-up to The Wettening, which I've probably made a smooth $20 in donations for over the last year+. Thank you. :-)

As for whether my team agrees with me, I don't know. My goal is still consistent with theirs; to produce the best possible songs I can, maybe for a different reason than you guys are, but the end result is the same.

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That was some old fashioned dream trance. But for these compos so far I've done dubstep, spacesynth, italodisco, progressive breaks, trance, other weird shit i can't put in a definite genre (mostly because it was crap) and now Funk/Disco.

I guess the tendency is electronic music in general :P

Haha, perhaps I should've said "era" rather than style :P

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That was some old fashioned dream trance. But for these compos so far I've done dubstep, spacesynth, italodisco, progressive breaks, trance, other weird shit i can't put in a definite genre (mostly because it was crap) and now Funk/Disco.

I guess the tendency is electronic music in general :P

so what ur telling me is u always do techno just like every1 else on OCRemix

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As for whether my team agrees with me, I don't know. My goal is still consistent with theirs; to produce the best possible songs I can, maybe for a different reason than you guys are, but the end result is the same.

Um is it too late to be placed onto another team? Lol joke I kid - love ya buddy.

We is da team with da heart <3 XD

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Make sure you guys grab the archival release of 2011. It's super cool and features super cool album art.

If it wasn't so hilarious how pumped about everything Charge Man is, I'd say the Hard Men had the best portrait. But since it IS hilarious how pumped about everything Charge Man is, Mega Ballers win.

Awesome stuff rnn, we <3 u

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I'm dedicating my Tuesday night to getting most of the song written. By night I mean 11pm to 5am. Am I going to trash talk? No. Do I intend to win? No. I am not taking this competition TOO seriously, and it's not because I'm some arrogant ass, and I don't think any differently of anyone here who takes it super seriously. We're all adults and we can do what we want, it would be silly to judge. My goal is to make a nice little follow-up to The Wettening, which I've probably made a smooth $20 in donations for over the last year+. Thank you. :-)

As for whether my team agrees with me, I don't know. My goal is still consistent with theirs; to produce the best possible songs I can, maybe for a different reason than you guys are, but the end result is the same.

Don't worry, I'm doing Concrete Man + The Moon in the style of a Deus Ex: HR track. So basically the happiest Deus Ex song ever. I'm pretty set on this since I am playing Deus Ex: HR right now :P

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A little bit of an informal survey: how closely are you guys working with your team members, week to week?

We've been working on our own, then towards the end of the week, we share a developed wip and offer feedback. It's pretty minimal but I think it's been working.

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A little bit of an informal survey: how closely are you guys working with your team members, week to week?

Not at all for my track, but I made the high-passed crazy synth in Ben's Literally Metal Pirates track. He did the remaining 99.5% of the track and did it well.

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A little bit of an informal survey: how closely are you guys working with your team members, week to week?

I'm trying to get more involved this time, but so far we're sharing WIPs with each other during the week and getting feedback on them rather frequently.

... two days ago I learned what a 'parallel fifth' was from Jesse - my bassline was doing just that in Grime. I fixed the area where I thought it was happening before submitting (at least, I *think* it's fixed). Didn't know that before - so Jesse and Zach are schooling me. One day it'll get through my dense head.

So far - feedback and education.

I'd like to collaborate on something, now that I know how (...I'm a ridiculously slow learner at this, sorry).

Edited by Mr. L
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... two days ago I learned what a 'parallel fifth' was from Jesse - my bassline was doing just that in Grime. I fixed the area where I thought it was happening before submitting (at least, I *think* it's fixed). Didn't know that before - so Jesse and Zach are schooling me. One day it'll get through my dense head.

Just needed to say that it's a "perfect fifth" though. "Perfect" applies to fourths and fifths, and "Parallel" applies to thirds.

I just worked on my entry on my own, and sent to my team members for feedback once.

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Just needed to say that it's a "perfect fifth" though. "Perfect" applies to fourths and fifths, and "Parallel" applies to thirds.

I just worked on my entry on my own, and sent to my team members for feedback once.

You can have parallel fifths. Parallel just means that there are multiple fifths, fourths, thirds, etc. in a row.

By the way, there's nothing inherently wrong with Parallel fifths. Most of the time people will tell you not to use them if you're writing counterpoint, but even then it's your choice. In modern music parallel fifths are used quite frequently.

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You can have parallel fifths. Parallel just means that there are multiple fifths, fourths, thirds, etc. in a row.

Weird, that actually sounds like a different definition to me. The way you said it, it sounds like your context of "Parallel" is multiple usages in a row, whereas I'm thinking of the interval. I don't think I was ever clearly taught what "parallel" really meant and just heard examples from my teacher, so I assumed it was "parallel thirds", "perfect fourths", and "perfect fifths". I've always thought parallel meant "played at the same time" 'til now.

Edited by timaeus222
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Thanks Kuolema and timaeus!

I really enjoyed reading your posts. :)

They were quite educational! :D

Edit:

V And now... I feel like I've just started remixing again. :\ Haha.

Edit again: Thanks DarkeSword!

Edited by Mr. L
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Weird, that actually sounds like a different definition to me. The way you said it, it sounds like your context of "Parallel" is multiple usages in a row, whereas I'm thinking of the interval. I don't think I was ever clearly taught what "parallel" really meant and just heard examples from my teacher, so I assumed it was "parallel thirds", "perfect fourths", and "perfect fifths". I've always thought parallel meant "played at the same time" 'til now.

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-B) 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.

Edited by DarkeSword
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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-B) 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.

Ah, okay. Thanks. I was never in a real music theory class, I was just asked to apply it during my years in choir.

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