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[Table] IAmA: We are the Musicians of the Game Music Bundle 3 (Plants vs. Zombies, Frozen Synapse, Fez, Dustforce, Aquaria, etc.)

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Date: 2012-06-01
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Questions Answers
What sort of programs/ processes do you guys use? What tips would you give to any newcomers in the world of original soundtracks? Best advice is to find a setup that allows to you to do what you want, then make a load of music and play it to people! The feedback you get initially can really help. Always make music that you like and keep your standards high.
Tips: PRACTICE practice practice, don't just wait for a paying gig/job. Hone your skills, build your portfolio, even if you're not working for anyone but just doing original music or remixes for fun. Do your research on new gear (KVR, VI-Control.net, gearslutz.com) and watch YouTube tutorials for technical tips on things like synthesis, mixing, mastering. Business-wise, don't settle for very small amounts of money. Ask for a % (royalties). You're investing your time, you deserve something in return. As for new comers, do you want tips for new comers in regards to making music or getting music in games? As for advice... I think one of the best ways to learn about something like composition is to find some music that you really like and try to recreate it as close to the original as possible. In doing so, you'll learn so much about things like chord progression, melodic structure, layering different melodies/harmonies, production, effects, etc. Do you play any instruments?
Hey Whitaker! Is there anything that influenced you to make the Cardinal Quest soundtrack sound the way it sounds? In terms of inspiration, I usually just go with a combination of my gut reaction to screenshots and/or gameplay and what the developer asks for.
Also, Hyperduck Chris, have you started working on the RamBros soundtrack yet? With Cardinal Quest, Ido asked for retro-inspired music. Not pure chiptune, but not totally modern either. Knowing that, I then looked at gameplay videos and started to just get a feeling of how it should sound. Having said that though, I made a couple songs that were a little bit too modern sounding to go in the game, so I ended up putting them in the OST instead. One example is Forbade. The first 30 seconds or so of that song was originally meant for the actual game, but Ido thought it was a bit too modern, so I filled it out for the OST, and it ended up being one of people's favorites!
On average, how long does it take you to finish a single track to a standard where you are happy with it? Depends on the style, since some genres are more difficult than others, and the intended purpose - simple background music, something rich and epic? I can do solid work on a 2-3 minute track in 3-5 hours if it's a genre I'm comfortable with. For a really complex style with lots of microediting, 15-20 hours. Orchestral falls somewhere in between, maybe 7-10 hours for 2-3 minutes working at an intense clip. For me it can take days for some tracks, other tracks can come together really quickly. (like in a few hours) It's really weird, and sort of like any creative process. Sometimes I'll sit down and get the core foundation of a song done in like a half hour. Then all I need to do is go back in and fill it out. Other times though, I have to keep coming back, tearing up the form, and starting over again. It's hard to give an average amount of time since it changes so much. It can take me 3 hours to multiple days of work.
Heh, I got it about 10 minutes after learning it existed. Always love the music, and such massive amounts of it for just $10 is just awesome. My favorite video game soundtrack of all time is the Chrono Cross soundtrack, but it's pretty hard to pick just one :) I like most music by Yoko Kanno, Yasunori Mitsuda, Yoko Shimomura and Nobuo Uematsu. I also like some of James Horner's lesser known stuff like the music in The Land Before Time and Searching for Bobby Fischer. Oh, and How to Train Your Dragon had an awesome and incredibly moving score!
Question for all: What is your favorite soundtrack (video game, specifically, but also throw in movies/TV shows/whatever if you want) that you were not involved in making? My favorite soundtrack is any music by Yoko Kanno (particularly Escaflowne). I'm also highly infatuated by Nobuo Uematsu (obviously). Favorite game soundtrack probably Final Fantasy 6, 7 or Chrono Trigger. Favorite movie soundtrack - hard to say... so much iconic stuff. I'll say Star Wars but it's almost like picking out of a hat. Favorite game soundtrack: PPPPPP (SouleEye's soundtrack to VVVVVV)
Also: What is your favorite soundtrack (or track, if you have a specific song) you've ever made? Favorite track I've written: Coming up on my next album, a sort of dark, melancholic yet very epic trance/vocal song with acoustic instruments.
If you collaborated with ensnare, what would happen? 1) to your music, 2) to your brain? I think that would cause the singularity! I have had a couple of really weird ideas for a nervoustestpilot vs. _ensnare thing but not really anything sensible.
Snarky questions aside, have you remained working exclusively on Mode 7 work or are there other projects for you on the horizon as well? Yep, I'm exclusively working on Mode 7 stuff right now. Would love to do other things based on time / opportunity, especially some more trance stuff, but between game soundtracks and ensnare I doubt I'll have time.
How did everyone get involved in creating video game music? (musical background, knowing game developers, etc.) I was active in the "Klik Community," mainly led by a website called The Daily Click (Link to www.create-games.com and Total Klik (before that disappeared).
Did a LOT of free music for friends who were creating great fun freeware games, and then eventually some of them started selling their games. Now, the Tigsource Forums (Link to www.tigsource.com are a great place to go to meet developers.
You seriously just need to start making music and find a way for people to listen to it. Make sure you have a nice looking website (not just a soundcloud link), and talk to as many developers as you can on Twitter, Reddit, etc. Just getting to know people will definitely help in the long run. When I was first getting started, I also just made songs that I thought would work in a game and sent it to the developer unsolicited. This is how I got music in Tilt to Live (iOS game). I loved the game and noticed there was only one song in it. So created a tune I thought would fit well in the game, sent it to the One Man Left guys, and eventually they hired me!
Started out on OCReMix.org which is a game music ARRANGEMENT community, that's where I really got my skills up to par. First experience actually doing work for games was in the Game Maker Community. Got paid $40 for 4 tracks when I was 16 or so. :D Since then, it's been a gradual buildup of networking and self-promoting by just doing a lot of projects and getting my name out there (have worked on some bigger games like Soul Calibur 5 too).
For all: Where do you draw your inspiration from, and how do you fit songs around a given theme (like a level or stage in a game)? For specifically nervous_testpilot: The vocal tracks in the Frozen Synapse OST fit so perfectly. I'm an amateur composer looking into expanding my style, and airy vocals like those in Frozen Synapse add a lot of depth to something. So the question is, how are they created, and are they live (recorded) or synthetic? It sorta feels like you develop a dictionary in your own head to define what emotions/colors/textures all sound like, so having a large volume of music knowledge only adds to that, i.e. draw inspiration from everything. Classical music, death metal, roaring 20s, trance, everything. What ends up happening usually is that devs give me the emotion/colotexture cues, I listen to what they sound like bouncing around my brain, then just write that down.
@supershigi, First off, huge fan of your work in PvZ, great job! I'm interested to know what kind of music training you've had, ie piano lessons, band or orchestra in school ect? Aww, thank-you :) I was classically trained on the piano for 11 years, but the rest I kind of just picked up on my own (composing, arranging, sound engineering, etc.). In college I majored in something completely separate from music (international relations and business, with lots of computer science courses), but on the side I was always doing music stuff. I played piano in a jazz trio, sang at church, and composed a lot using an old version of Cakewalk that my friend gave me. I also picked up a lot about sound engineering from helping out at my friends' studios.
Can a soundtrack sometimes make more money than the game? Depends on the size of the game and the soundtrack. If the soundtrack is for a freeware game, then most certainly. ;P.
I've never seen it happen personally!
It's possible, since soundtracks are sometimes priced above the game, and sometimes the artist is more popular than the game itself.
What are your favourite VSTi plugins and libraries, especially for electronic sounds? I have fallen in love with using Rewire and Reason 6 for a lot of electronic sounds, I love having the ability to control everything possible. FM8 and Massive (Native Instruments) also give a lot of similar control, though not as stackable.
For electronic stuff: Sylenth1, Korg Wavestation, Novation V-station, FM8, Absynth are probably my faves.
NI Komplete is a really good buy, with synths like Massive, FM8, Reaktor and Absynth. However, I also LOVE Zebra 2 (probably my favorite individual synth) as well as Omnisphere which is just insane in terms of content.
I honestly haven't had the chance to buy many plugins at all. I'm still saving up. I've tried a bunch of demos, but don't really own many. One that I bought was Plogue's chipsounds, which has been really helpful for me in terms of creating chiptune-ish music.
My two favorites are Edirol Orchestral and FXpansion's DR-008. I like Edirol because it's very simple and condensed. It has some of the best string and wind instruments I've heard, and rather than including 100 other samples that are lower quality so that I have to dig for them, it only has a few of the best ones so I know exactly where to go when I start a project.
I like DR-008 because the interface is simple and intuitive, and it allows me to create my own samples, plug them in, and assign them to notes in such a way that using the sheet music view (which is my preference since I'm a pianist) is very easy.
For electronic sounds, I really like the Korg Triton library (it's a hard synth though, so often I'll record samples and plug them in using DR-008) as well as Dimension Pro.
Omnisphere is great. I also love the Magical 8-bit plugin.
Which piece of work are you most proud of? Frozen Synapse soundtrack, definitely.
All of it, because I'm always astonished I actually finish something.
Might still be my album Antigravity (Link to zirconstudios.bandcamp.com) though it's not a game soundtrack. Been working on a new album for 5 years now that will soon be my best work.
The Astroman soundtrack is definitely something I love because the devs really gave me free reign to write whatever I wanted. It really feels like I contributed my own voice to it.
How much do you actually know about a game when your starting with making the music? Are there already finished graphics and playable versions? If not, can it be problematic to get a fitting style and mood? Usually start at the concept art stage. All problems with mood / tone etc. get bashed out in the first couple of tracks and then after that it gets easier.
I like to know as much as possible. Fortunately, if I'm brought on early enough, the art assets may only be concept art, but that's great as well. Sometimes I'm brought on towards the end of a project, but that's not usually the case.
It depends on when the developers bring you on the project. Usually they have some concept art, but everything is usually really rough around the edges. If there's playable versions, they usually break every 30 seconds. You really just have to take inspiration from whatever you can get. It doesn't tend to be problematic for inspiration. What makes it difficult is when developers can't make up their minds or don't have a complete picture of what the project is.
@nervous testpilot: first of all: holy cow i love your side project ensnare. impeccable micro is by far the best chiptunes i've ever heard. any chance that your new album is on sale sometimes? what software do you use? aaaaand: whats your favorite retro game? Hey - thank you! Do you mean "am I working on a new album" or "will I do a discount on my current one"? Well, the answers are "yes" and "maybe" to those!
I use Plogue Chipsounds, FM8 and VOPM for all my chip-esque stuff. Ableton Live is my DAW, and it's awesome. My fave retro game is definitely Streets of Rage 2.
What's the project you've spent most time on so far? (As in: total number of hours of composing versus total song length?) 1) Probably The Spirit Engine 2 or Ravenmark, I'm not entirely sure. I did The Spirit Engine 2 with all modules originally, like the original, but then I recomposed it with MIDI and Sonar later... I enjoyed it so much the time flew. Ravenmark was quite spread out, on the other hand, but I feel like that took just as long.
Do you have more previews for the upcoming music in Scrolls? 2) Unfortunately, no - I think a gameplay video was just put together by Jnkboy, but I'm not sure where that's going. Additionally, it uses music we didn't intend to have in game. Maybe in a few weeks Anosou and I will put something out _^
Any chance the guitar player for GunGirl 2 will play in one of your songs again? 3) Yup - he's already helped on an iOS game I worked on, though I can say just what at this time :/
That would be awesome if you guys could do something like that! Make sure to tweet about it or stop by ScrollsGuide to let everyone know ;) Will do!
Would you agree to compose soundtrack for a aaa movie? Final Fantasy 6-7, Chrono Trigger, Super Mario RPG, Diablo 2 (maybe 3 now!), Fallout 3, Super Mario Galaxy 2, Deus Ex: HR, that sort of stuff. Would love to compose for a major movie, but first be lead composer on a major game project. I'd compose a soundtrack for a AAA movie, sure. It'd be a great challenge.
How did everyone get into making game music? What is your favorite soundtrack from ANY game? What is your favorite album from the bundle? What is your favorite song that you have made? 1) Wrote music for friends who made games that I met online. Especially in IRC chat rooms. - 2) Final Fantasy VIII tied with 4-9. - 3) They are all great, Dustforce, Frozen Synapse are getting a lot of airtime from me. - 4) Anomaly or Apoplectic.
Hi folks, thanks for doing this. As an aspiring game music composer, I'd love to know a few things. I'll then put everything into a structure, add annoying stuff like crash cymbals and spot effects, then go really crazy on refining everything until I'm happy with it. Finally, I'll mix the thing and then decide that it's terrible and I hate it. I'll usually have a couple more hours of tweaking, render it to a file and not listen to it for as long as possible afterwards!
What's your workflow like in terms of initial sit at your pc/instruments through to finished product? Do you lay out a bar by bar thing early on, sections, that sort of thing? I think all your work is great, the bundle is excellent and I hope there is more to come in future. After that I'll flesh that out a bit with some things that approximate the sounds I want, and then I'll move on to write the "verse" part. Then comes the breakdown and the intro. Once that's all in place I'll work on sound design and getting those sections to be individually as good as possible.
Mastering seems like a dark art to me. Do you master your own tracks, or send it to a dedicated mastering engineer? 2.) Mixing is really 98% of mastering, to be honest. There's nothing a great mastering engineer can do with a crappy mix. I master the ensnare stuff myself, but that's mostly just sticking a limiter on everything and maybe a bit of EQ. The Frozen Synapse stuff is done by the amazing Shane @ Finyl Tweek - www.finyltweek.com.
Supershigi! When do we get to see more of you and lonlonjp? Im a big fan of your channel and you two do great together! Thank-you! Working with lonlonjp was so much fun, I would love to work with him again in the future. I'm sure we'll do another collaboration sometime soon :)
Directed to all, How often do you all go to GDC? Do you find it worth it as a game composedev? I love GDC - I've been the past two years. Definitely worth it.
Been there twice, definitely worth it.
Went for the first time this year. I think it probably is worth it just to get a bit of inside info on the games industry. Also there was an amazing chiptune gig with Trash80 and Zen Albatross in SF which was insanely good!
I haven't been there yet but I'm DYING to go and hope I can this year.
I've gone to GDC for 5 years now. Even though it's expensive, it's great to get a perspective on what the industry is like and put faces to names. Pretty much anyone there is friendly and willing to talk. I've always felt inspired to do something awesome afterward.
In the AAA game world, budgets for music keep getting bigger, allowing game composers to hire big orchestras or hire big talents to enhance the score. Is there a similar trend in Indie games? Do you see indie game devs allowing larger budgets and more time for the sound side of things? Seems like most indie game devs are not interested in orchestral scores, preferring more electronic or quirky indie rock kinda styles. Nothing wrong with that, but I do think it's a shame that more indie developers aren't willing to consider setting aside even a small budget for live instruments. $500 can get an afternoon of recording with a few great live instrumentalist, and the difference between having fake violin, guitar (etc) vs. real is huge!
I've done a lot of violin recording for games, both indie and AAA. It has to do with budget, but in some ways it has to do with comfort level as well. AAA composers regularly work with other people to make and produce their music, but indie composers might not have the connections, or experience to know what to say when they want to hire someone like me. Like Zircon said though, $500 can go a long way. Having just one live instrument changes everything.
How to Train Your Dragon was awesome, music included. Oh, and since you mentioned Yoko Kanno, I'll ask you too: Have you been watching Sakamichi no Apollon? I haven't been... what is it about?
Directed at infiniteammowpg, Alec, Aquaria was the game that got me into indie games, and that soundtrack will always have a place in my music library. Aside from improvising at the piano (which I think you mentioned in another post), is there anything else you would like to share about your creative process? Thanks! :) Glad you enjoyed Aquaria... The process is a bit different depending on the game. For example, with Kyle Pulver's games (Verg, Offspring Fling etc) I tend to get inspired right away and write pretty quickly. I think this is because a lot of Kyle's games are inspired by the Super Nintendo era. This happens to be where I draw a lot of my inspiration as well. I think we're on the same wavelength in that respect, so it's more of an immediate thing. I don't key in notes very often... usually I'm recording "live" performance. (playing on a USB MIDI keyboard) I think this is a different approach than most of my colleagues use. Sometimes I go in and quantize/cleanup the recorded notes, but sometimes I just leave them... the natural feel of notes that aren't always perfectly on the beat works for some games. Another take: I find that I can only write well when I'm emotionally in-tune with the game in question. So if the game's mood is depressing I have to get a bit depressed. In the case of Offspring Fling, I happened to be going through some shitty times while writing it. :) So I ended up visting my family a lot and writing while I was over there. It was easier to feel happy and "care free" while being around my family. I was also composing in my family's basement, which is where I first started playing Super Nintendo... so that helped as well.
You guys rule for doing this. Can I ask how long most of you spend picking out just the right sounds/samples when starting a new project? For me, I feel like I spend too long picking out patches and instruments before I get down to writing. I remember talking with DannyB once and watching him work - he actually would write out melodies before assigning them patches. I'm not sure if he still rolls that way, but it gave him a lot of dedicated energy to pick sounds.
I don't work in that order, but I do a lot of tweaking and playing around with something after I initially assign a sound. Though a lot of my work is with digital orchestration, so that's a slightly different (yet shockingly similar) process.
I don't really do this at the start - like most people I tend to do it as I go. I actually usually start writing with just a piano sound and some boring stock drum samples, then build up from there.
Try using a template where you have a number of synths and such pre-loaded. Though I tend to spend maybe 85% of my time doing sound design and 15% of my time writing :-)
I usually have an idea of what I'm looking for and pick something close, then tweak as I go. I fix it up when the track is mostly finished and I have a better idea of what it needs.
Hey guys I love your work. For my first question I was wondering if any of you ever joined a band in school and if so did that help your work flow later in life? My second question was do you guys ever hash out songs on say a guitar or piano before fully composing them on your DAW of choice and is it hard to translate from a traditional instrument to a digital one? Thanks for your time. I was in a band at school called The UnflunggoosemooseinsipidaegiseatersofXorb feat. Raincoat. As you can guess from the name, it wasn't entirely serious! We would just meet about once every three months and write an album in one day: it was the worst music I have ever heard before or since, and totally awesome. We had a total of one fan. I played cello in high school for the orchestra, and electric bass for the jazz band - I think live performance is super helpful. I was a classical music nerd in high school. I played violin in the orchestra, and joined the local symphony when I was a junior. Live music experience helps a lot with learning about producing music. Composing is something completely different. Sometimes I'll get inspired by something I'll play, but the rest of the piece usually comes from composing directly, not from playing. If you have the means to record yourself, that can save a lot of time and have better results than transcribing it into a digital instrument.
I play most things out before I write them, but it's still usually in the DAW atmosphere. I'll often improvise on the piano before doing the full arrangement on the computer... this is especially helpful if the music isn't already fully realized, or if you've got a creative block with a certain section. I don't usually hash songs out on keyboard first before writing, it's more of an ongoing process. I play, write, play, write, all right at the computer.
Questions to all musicians. Do you play a game before it is actually released (alfa-version?) to see if your soundtrack fits to what happens on the screen? Yes, when possible. Sometimes when I'm contracted for short fast gigs, I'm not able to see the game, but that's only happened once or twice, and I am very diligent to make sure that's not a regular occurrence. (Before TestFlight, it was very hard to test iOS games)
It happens sometimes, but not all the time, depending on the developer. With indie/mobile games making builds and sharing them is a lot easier, whereas stuff for Xbox/PS3 or higher budget titles sometimes have more dependencies and are thus harder to make quick executable builds.
Yep, as much as possible.
While it's not always possible, I definitely prefer to play the game before composing music for it. I find that it's much easier to create music that the developers are happy with on the first pass if I can compose and play the game in tandem. In most cases I get involved in the project while it's still in development, so the developers will send me builds and I can work on the music as new locations are completed :)
How do you learn to do stuff like this? Best way I've found to learn new stuff is actually a combination of observing someone better than you first-hand in their studio, and then trying to do the same things yourself at home.
Thank you for doing this AMA. You are awesome! Can you share some statistics about Game Music Bundle? I mean how many purchases were made, price of an average pruchase and so on. GMB3 just past 5,300 sales at an average a bit under $11.
How long have you guys been making music and how did you start with it? I started about 12 years ago making weird electronica with a rubbish General Midi keyboard and a copy of Cubase Score! Graduated to a sampler and a couple of not-very-good synths. Released an album called Module YOU.DLL Caused a General Protection Fault in Application MY_HEART.EXE (yes really) and gigged a bit.
I'm 24 now, started playing piano when I was 7, switched to digital music making when I was 15. Was really bad at first but got to a decent point by the time I was 18. Having the piano background helped; learning the computer tech end of things still took awhile. I think it's much easier now that there are YouTube tutorials and DVDs out there. Still takes practice!
Since I was about 12 (I guess that's 12 years ago as well). Had a Kurzweil keyboard I studied classical piano on - more often than not I'd make stuff up instead of practicing. Heh.
I've been playing piano since I was 5 years old, soooo 21 years now. As for composition, I wrote a bunch of shitty songs in high school. I didn't actually start using a DAW (Logic) until about 2 years ago. Since then I've just done a ton of composition and tried to get better and better. I'm very honored to be in this bundle with so many of my indie-music idols!
I started piano at 4, violin at 8, and composing video game music at 12, and I'm 27 now. My first piece of software was Cakewalk Home Studio version 3. I wrote hundreds and hundreds of midi files using it back in the day.
I maintain that Midnight in the Library is one of your most awesome songs. So relaxing. Glad someone remembers that! Awesome - thanks.
My favorite soundtrack is any music by Yoko Kanno (particularly Escaflowne). I'm also highly infatuated by Nobuo Uematsu (obviously). Good choices. Have you been watching Sakamichi no Apollon? :D. No but I ought to!
What songs/music have you listened recently that really wowed you? I actually really like Twin Atlantic (I have no idea what's wrong with me). Less ridiculously, I'm really enjoying Orjan Nilsen's trance stuff and chiptune from Monodeer.
I haven't stopped listening to Fez on repeat. exaggerating, but seriously.
I listen to a lot of Pandora these days. But to be honest, I have a lot of respect for Skrillex.
Link to www.youtube.com
I never made it far enough in the game to hear this, but this blew me away: Link to www.youtube.com
When you make music, does it just flow out or do you actually have to try? More seriously, it totally depends on what I'm doing and when I'm doing it - I think most other musicians are the same. Sometimes I can sit down and just write something awesome in about five minutes; other times I will be twiddling around with a lead melody for days and days.
Did any of you ever say no, when they asked you to make music for the game just because you thought the game was bad? Yup!
Definitely. It's tough to do when you're hungry for work, but better than subjecting yourself to an uninspiring project.
I am a huge fan of your work. which ocremix remix of your is your personal favorite? Thanks! It's hard to say, either Monstrous Turtles! orTime to Oil Up :)
My son adores the PvZ game and music. His first word was "sunflower". OK, not really a question. Aww... that is so adorable!
Usually takes me at least 2 days, as many as 6 or 7. Sometimes I leave something for weeks, months or even YEARS before coming back to it. Sometimes I just don't finish it, ever. But yes, Rich nailed it.
Exactly... It varies so much! There are some tracks that materialized really quickly (in a couple hours), and some that took years. It depends on so many factors.
Whichever one of you did the PvZ music for Dr. Zomboss is a genius. Hehe, thank-you... Brainiac Maniac (Dr. Zomboss' theme) was probably one of my favorite pieces of music to compose, I had a lot of fun with it :)
Not a question, but my 3y/o daughter looooves PvZ and i would just like to say thanks for her new creepy theme music :D Haha, awww that is really cute :) You are very welcome!
I've got an FM soundtrack that I think is really pretty ace. Hopefully it sees the light of day this year. I'll come over to your house and steal it.
I stopped playing VVVVVV for a while, and just picked it back up a few days ago... Good times. Ah yeah, I told him the username, I think he just hasn't gotten around to it.
Also, you should get Josh Whelchel/soundofjw to edit your username (and Jeff Ball's) into the main post. Yeah VVVVVV is a KILLER game.
I don't really do this at the start - like most people I tend to do it as I go. I actually usually start writing with just a piano sound and some boring stock drum samples, then build up from there. Yup same here.
Top 5 favorite games: Chrono Trigger, Starcraft, Mega Man 5, Yoshi's Island, Zelda: A Link to the Past. Chrono Trigger is so good - the music is also spot on across the board. Mitsuda can just sweep me off my feet and take me wherever he wants to go. That'd be nice. ~_~
I would just like to say: <3. Someone might need that table...
(╯°□°)╯︵ ןןɐʞɔɐןqɹǝʞɐʇıɥʍ. Touché!
Last updated: 2012-06-06 02:00 UTC
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