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About dannthr

  • Rank
    Chun-Li (+1000)

Profile Information

  • Gender
  • Location Los Angeles, CA

Contact Methods

  • Website URL http://www.dannthr.com
  • Skype dannthr@gmail.com

Artist Settings

  • Collaboration Status 2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW) Cubase
    Pro Tools
  • Software - Preferred Plugins/Libraries Many
  • Composition & Production Skills Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design


  • Real Name Dan Reynolds
  • Occupation Composer/Audio Designer
  1. How to Discredit a Former Employer?

    Then you take Nabeel's advice and move on.  Save the kvetching for MAGFest, GDC, or other networking events.  It doesn't sound like they're any thing impressive from your description and probably not even a formalized company. Feel free to threaten them with legal action if they use any of your work, but have teeth when you attack, not just bark. I had a problem with an indie dev once when he and I had been sort of off-and-on working on this project of his since 2007--he was really slow moving--so I gave him time when he asked for it.  Then time went on and he decided to do a Kickstarter, I crunched a bit for his trailer, fixed a lot of his mistakes, etc. and let him handle the Kickstarter after launch.  He didn't get funding, of course, because he was terrible at marketing and he went quiet after that.  Some time later I find out that he's working on the project with some other composer with no explanation at all. I eviscerated him in an email while simultaneously warning the incoming composer that the project floundered because of the main dev sitting on his ass most of the time not knowing what he's doing--my language was strong enough to scare him from using any of my assets and all the online promotional stuff with my music and sound was taken down within a day or so.  I'm happy to burn that bridge, that guy was an ass to pull the crap he pulled and then I move on.  If my stuff shows up on the project, you can be sure I'll send a C&D. But unless you're willing to take legal action, there is NO RECOURSE.  The Internet is too much of an infinite void of rage and complaints, you just become part of the noise. Complaining does nothing. Sharpen your teeth and get serious or move on and accept that there will be people out there that will roll over the easy.
  2. How to Discredit a Former Employer?

    Two questions: 1) You said you signed a Non-Disclosure Agreement, did you sign any other documents?  They may not be illegally using your music depending on the parameters set forth within your signed contracts as well as other communications which constitute an agreement. 1a) If you did sign other documents, have they breached your agreements in any way? 2) You said you signed a Non-Disclosure Agreement, are you breaching that contract by posting publicly about this project or are in any way violating that agreement? I am not a lawyer, but if either of those questions are answered with a "yes" then you might want to cease posting about this trouble and seek legal advisement.
  3. Sometimes Dan Draws Clothed People

    Thanks Jared! I use charcoal for life-drawing sessions because it's cheap but flexible/expressive.  Newsprint is great for cheap scratch paper.
  4. Here's a thread for sharing work when it seems OCRemix safe-appropriate.  Clothed, etc. I'll kick it off with a figure drawing session: =========================================================== Tonight's Drawing Club featured model Debra Haden dressed up in a sort of Edwardian dress and hair inspired by Sherlock Holmes' Adler character--amazing hair, amazing model, lots of fun! Media: Charcoal on Newsprint Poses: 5-15 minute  
  5. Failure and success are part of a personal journey--and music and art are pursuits that demand a lifetime to master. If your goals online are to expose and reveal this personal journey, then put it all out there and be sincere about it. If your goals online are to present yourself as a viable contractor or enterprise, shape your presentation to demonstrate the best of your skill. Michelangelo burned all of his practice sketches because he knew people would only believe in his genius if they only saw his polished works.
  6.   "Someone I am is waiting for courage, the one I want, the one I will become will catch me.  So let me fall, if I must fall."   Failure is how you learn, failure is how you become the next thing you will become--success confirms only what you are, but failure makes you grow.    Embrace the opportunity to grow with all your heart.
  7. Ah, I see, it as like a +1 thing.
  8. I can't figure out why you quoted me, Slimy. To the OP, a good general rule about audio is that people can pay attention to around 2 and a half things at once.  Think about the two things you want to focus on at any given time throughout the work, it can change as the work progresses (things can come into and out of focus), and think about the thing you want to be there but maybe people don't pay attention to closely (often times this is our rhythm section). By the same idea, you could think of a Bob Ross painting, there's a background that shapes the over all feel or tone but we don't give it close attention, there's a middle ground and a foreground--the middle ground and foreground elements take turns at being the focus and often times we can see them both at the same time--but that kind of maxes out the frame for us, we don't want more. Always keep your ears fresh and try to be objective (this is often why people prefer utilizing outside engineers for their mixing process--they're usually too close to the material to be objective about their balance/processor judgements)--always think about the person who has never heard the work before and what their experience will be like.
  9. Agreed, and many libraries are passable--but the best saxophone library is niche and passable. For example, I would assert that the Sample Modeling saxes are fairly passable, despite the fact that the SM approach is basically about as good as it gets and results in a truly flexible and programmable instrument, their woodwinds sound like they were played with very hard, plastic reeds and this bugs me. The same for the WIVI woodwinds. Straight sampled saxes sound like one would expect, a stitching of multiple recordings, but because the instrument has so much flexibility, the timbral phrasing is either inconsistent from sample to sample (or sample group to sample group) so as to create an unnatural transition from timbre to timbre; or they only recorded one timbral feel and thus is usable for only one kind of thing and can not fluidly move through timbres (which sounds boring or unnatural depending on how the user has phrased/programmed the work).
  10. The Embertone has a very NARROW usage, similarly, the VSL Saxophones are perfect for the rare classical saxophone sound--between all the libraries out there, there's probably most everything you'll want to do with a sax--likewise with the violin--but wants to mix and match that much?
  11. This is why you should take breaks throughout the day when it's long and if you're not under crunch, when you think you've finished, just stop listening to it for a week or so and come back to it fresh.
  12. You can write section work with the Sample Modeling Brass--it really is an incredible library--but there will be some challenges involved with getting good placement/spatialization (at least to my satisfaction) and there's plenty of risk of phase issues with unison. However, there's always risk of phase issues with unison brass--virtual or real. There are, however, NO GOOD SAXOPHONE libraries out there, no matter what anyone tells you.  A saxophone is about as difficult to virtualize as a solo violin--Henry Mancini considered the saxophone to be the most versatile instrument in the entire wind section, and that wasn't just a lot of hot air. My recommendation is Sample-Modeling MIXED with a good jazzy ensemble brass section library.  Remember that eras in big-band and swing were defined by their voicing, so make sure you have control over that.  And since you're spending all that cold hard cash, I would reserve some of that for a couple of live musicians, they're cheaper than you think--no that didn't sound right... they're more valuable than you can imagine... yeah, that's better.
  13. Hey SegaMon, I remember Noteworthy Composer! Really cool composition/suite/medley!  I'm surprised no one has given you feedback! You have a lot of strong qualities in this production, the most being your tenacity to complete such a large scale project.  It really is worth appreciating for the scale alone. With that said, I definitely have a couple of notes for you: - Your production isn't quite there yet, some of this is within your control, and some of this (most of this) is not.  The hard part (and simultaneously, the easy part) is that investing some serious dough in your production setup would put this production on the map, so to speak.  It's hard because having and spending money on virtual instruments and the equipment to run them is rarely within our reach. - You became a better writer as you wrote this.  This is common, especially common in the earlier stages of our advancement through writing, and so the result is that the later sections of the work are actually more engaging and interesting than the early sections.  I think it can be a really great exercise to work on something we started so long ago and to enhance the production, but if I were your teacher, I would be highly concerned of your revisiting a piece over a decade old. It's important to remember that our work is not precious and to hold it precious is to stagnate our growth--every piece you write is a stepping stone to a greater you, but you cannot grow without the willingness to step on that work and walk away from it. - The early sections suffer from boring rhythms.  There's no easy way to say this, but generally speaking your motives early on in the work (and somewhat throughout) are really eighth-notey/quarter-notey--very, very straight and always happening.  One of the problems that I've noticed when we are first adapting to writing on the computer (which is not as much a problem when writing on paper) is that we tend to copy and paste and we tend to create in default tempi and default quantization.  Humans are notorious for resisting change and it's really, really easy for us to keep writing in quarter notes or eighth notes once we've set the quantize (especially if you're step-sequencing, which the early stuff feels super step-sequency), but on paper, we don't have this issue because a quick jab of the pencil and we've changed the rhythmic structure.  High repetition on paper feels wrong, we naturally vary ourselves on paper, but on the computer, it's very unnatural to write variations--especially rhythmic ones. - Study more idiomatic writing techniques.  Unfortunately, you have the tendency in this work to treat the instruments all the same--this egalitarian approach is a nice idea but really tends to sound weird when coming out of our virtual speakers.  Idiomatic writing will do many things for you: first, it will force you to more closely examine the performance styles and techniques of each individual instrument resulting in your own ability to distinguish a convincing MIDI production (phrasing, note enveloping, etc.); second, it will also force you to acknowledge the compositional tendencies of individual instruments and how we actually want to write for the different instruments differently (owing to their individual constructions and methods of performance). - Study lullabies and popular music.  Outside of the squareness of your piece (the block rhythms), I can't remember any of it.  The motives were too long and wander too much for me to remember them.  We obviously can use this to an affect when necessary, but to have listened to your 9-10 minute work and not remember anything but the final oboe tone?  That's probably not the desired affect and it didn't create a pleasing (or even engaging) experience for me, your listener.  I understand you were trying to tell a story through the music, but where are the characters? If you want to get intellectual about it, fine, you can go study programme music--but like Tchaikovsky or Prokofiev or some composer who writes solid melodies. If you were my student, I'd make you study Alan Menken, the guy writes amazingly memorable themes but also brilliant orchestral coloring and beautifully idiomatic arrangements--there's a reason the guy has more Oscar wins than any living person. - Look forward, not backward.  Stop saying "I want to eventually do..." and start saying "I'm working on..." Good luck, - Dan
  14. Is there a link to your SoundCloud somewhere? Somewhere nearby?   Maybe in this thread?