Garpocalypse

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About Garpocalypse

  • Rank
    Tanooki Mario (+2000)
  • Birthday December 30

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  • Biography
    I've been in love with game music since I first booted up Toejam n' Earl on Christmas day 1991. A decade later I majored in music. I love just about every form of music on the planet.

Artist Settings

  • Collaboration Status
    3. Very Interested
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Lyrics
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  1. Off the top of my head I would say Resident Evil had a great game over approach. Nothing like trying to get through an area deep in deep in the red, having a zombie sneeze on you, then everything fading to white. In second place would probably be FFT's haunting game over that stays with you long after you return to the title screen.
  2. That's a bit over the line considering how supportive Uematsu has been to the community here. HOWEVER!! your outspoken passion for SEGA and Takenobu Mitsuyoshi is deeply reciprocated! Can't go a summer without listening to Daytona's Skyhigh a few hundred dozen times. Don't forget the other classic SEGA greats like Hideaki Miyamoto, Hiroshi Kawaguchi and Yuzo Koshiro!
  3. While ACO has a good point, I honestly wasn't talking about "entry level" anything anywhere in my post. Orchestral samples are an entirely different beast and for those you are better off going with the best library you can get with a, dare i say it, "workflow" that appeals to you. I had a chance to try out ProjectSAM's Symphobia and wasn't much of a fan of the inflexible ensemble oriented patches. It's easy to get your big generic filmscoring sound with them but that's all it's capable of doing. Since I invested in EW's Symphonic Orchestra Platinum (which is still a viable collection despite what some would have you believe) I'm able to use a lot of those instruments in other genres and create an ensemble that's exactly what i want to fit what i'm working on. On the otherhand, someone who does a lot of freelance filmscoring and needs to have something not so personal banged out in a short time would probably get great use out of Symphobia. It's a given that you have to do your research when looking for sample libraries. Check out demos, watch videos and get a feel for what you are getting yourself into.
  4. Almost all free samples are going to be either crap or require you to give some personal information in exchange for some small instrument. I've spent years amassing my sample collection and figure i've easily spent over $3,000+ to get everything I need/want (this is ONLY counting sample libraries and sample based synths). Took about 6 years to get it all. You can bypass much of the collecting by going with East West's Composer Cloud which gives you a ton of samples for a low monthly fee. Of course you don't actually own any of them so when you stop paying all of your projects are going to break if they are not bounced to audio. http://www.soundsonline.com/composercloud FYI samples can be a hefty investment so it might be better to start off with NI's Komplete so you have something useable to learn with. Poorly sequenced/mixed samples aren't going to sound any better than poorly sequenced/mixed soundfonts or synth patches. If you decide you want to start playing around with a sampled instrument start with one or two you know you are going to need to achieve what you want and learn each of them one at a time. Each library has it's own learning curve and method of developing a realistic performance so it's going to take more time than you might expect to get all the details down. good luck!
  5. that is awesome! I'll try to be there.
  6. Already have a closed pair of Sennheiser HD280 Pro's. Wouldn't use them for mixing an entire track but I do use them for recording and tweaking the lows. I bought those suckers 8 or 9 years ago and they have outlasted just about everything. For that reason I decided to go with Sennheiser HD 600's which seem to be a step above the Beyerdynamic DT990s. Sennheiser Veil be damned! Seriously though their frequency response graph on headphones.com was extremely impressive for something that's only $288.00.
  7. Just to clarify. If anyone has the capacity to record themselves doing: The idea is to get as many people as i can from the project to join in BUT I need them as dry as possible without any sound of the room you're in.
  8. Hey everyone, I'm in the market for a new set of studio headphones since my current set of DT990's didn't survive my most recent move. While I am most likely going to pick up another pair of them at some point I am also looking into the Sennheiser HD 650's since Sennheiser is known for having some of the most durable gear out there today. As a traveler who moves every few months I would like something more likely to survive my current lifestyle. The DT 990's came recommended by many people here but does anyone have any experience with Sennheiser's HD 650? Is it worth nearly double the price? Before anyone asks, the closest guitar center is a few hours away. Right now i'm out in the middle of nowhere in Texas.
  9. If you could post an example of what you are doing that would make for the best possible feedback. I'm guessing your issue is probably not putting enough "life" into your complementing tracks. If you think about it, a groove is a bunch of musicians all playing with a similar vibe that contributes to the focused personality of the entire track. I.e. they all have to be feeling the music in a similar way to produce the result. Sorry to make this sound like a philosophical post but there's really no way to describe it well. What's probably happening is that you are using vst's or synth presets that vary greatly in attack or with midi that's not tailored to the preset or patch. This usually would make each part sound like it's not jiving with the rest in terms of playing with similar energy. Often times this is expected and can be fixed towards the end of writing the arrangement in order to save time but if it's killing your creativity and affecting the desired result of the track then it's better to fix it earlier. I would suggest going through each part and either upping the volume to make it much louder than the rest or solo'ing it completely, playing the track, and going through each note one by one until the passage sounds as authentic as possible. Then repeat for all other parts. If there's something you want but can't get then look at the setting's on the preset and try varying attack/release settings. It can get tedious but this is where you are going to spend the bulk of your time while writing the track. Keep in mind you can get a better result faster if you invest in a midi keyboard and play the parts yourself. good luck with it!
  10. Remember the sources of any of the arrangements on it? Off the top of my head I would guess Final Fantasy S Generation.
  11. You could do something along these lines and put your poetry to music ala Lost Odyssey's short stories. You could also get this guy to score the videos for you if you decide to go this route. http://ocremix.org/community/profile/22026-garpocalypse/
  12. Kind of a broad question that spans many different sound chip manufacturers but usually it's because of the limited polyphony that the old sound chips were capable of. Taking the Genesis for example the yamaha 2612 sound chip that was in that system was only capable of six simultaneous voices. That's 6 channels that needs to be split between music and any sfx so chances are the game at any given time is hitting the maximum amount of polyphony it can handle. Now, if a game uses a "pause"/"unpause" sound effect that requires a single channel to play. In order to play the sound effect something has to go at least for the duration that the pause sound effect plays at which point the missing voice can come back in. You can usually hear this throughout a lot of 8 and 16 bit games when a lot is happening on screen, parts of the background track are dipping in and out. Juggling your different voices in an effective way that doesn't detract from the game was a necessary skill to have for a game composer back in the day.
  13. Really enjoyed this one. Great interpretation of the source.
  14. I'd be down for this.
  15. Epicverb from Variety of Sound, who also made the NastyDLA MKII, is a must have.