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About AngelCityOutlaw

  • Rank
    Chrono (+3000)
  • Birthday 04/23/1992

Profile Information

  • Gender
  • Location
    Alberta, Canada
  • Interests
    Music, history, Star Wars, movies and video games.

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
  • Software - Preferred Plugins/Libraries
    Symphonic Orchestra, Ra, Guitar Rig, Addictive Drums 2, Shreddage Bass, Sylenth, Nexus 2
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Electric Guitar: Lead
    Electric Guitar: Rhythm


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  1. Yes, a lot of those keyboards do also have MIDI support and can be used as a controller. I just looked yours up on Casio's website and all you should need is a USB cable to connect it and you're good.
  2. If I get what you're asking: The standard these days is to use a MIDI-controller keyboard; the keyboard records the notes you play into the DAW as MIDI information that is sent to virtual instruments as the MIDI keyboard itself outputs no sound. You can either input the data in real time or one note at a time via "step input" in any DAW worth its salt. When you hit a key, the instrument you have armed plays back its sound. In terms of Chord Creation tools, something that specifically generates progressions as MIDI can be found in DAWs like Cubase, but it's rare to find someone who bothers with it. Most composers and remixers these days use the DAW/MIDI controller combo for every aspect of the composition process.
  3. Didn't seem that way, but fair enough. I'm also not sure what you mean, as despite I guess what could be a harsh choice of words to some, my pulse rarely elevates in these kinds of discussions.
  4. Haha okay, clearly you've never been involved in building houses. No one who's bad at their job ever manages to keep it longer than they should. What world are you living in? Also, no shit; I said the second part of your post. If you ever bothered to read what other people say instead of just posting your sage-like wisdom, you'd know this.
  5. His point is akin to saying, "There are some really bad roofers out there getting work, so the skill and marketing ability of the good roofing companies has no bearing on their success" Which, if anything, one would think it was the bad roofers who are the lucky ones.
  6. This reasoning usually is often "music I don't like is "untalented". The people who I'm sure you're thinking of are generally backed by a strong marketing team (or exceptionally good at marketing themselves) where aspects often unrelated to their music are a selling point aimed at a particular demographic or because they were guaranteed a job by being born into it. The amount of people who get successful simply because of looks or theatrics, etc. are an extraordinarily small demographic and it's unreasonable for the average person to expect to get by in the same way. Alice Cooper is actually a pretty awful singer and songwriter as far as those professions go, but it is his stage antics that made him famous and people will remember him for. It is unrealistic for the overwhelming majority of new bands to aim to replicate this kind of success. Despite what hipsters would have us believe, the Lil' Waynes of the world are the outlier, not the rule. Most of the pop, country, rock, etc. and composers with regular work didn't con their way in: They're just solid, hard-working performers playing some decent tunes in a style that appeals to as wide a demographic possible. Again, it's cool to shit on Nickelback, but most up-and-coming bands I meet don't have even a sliver of the work ethic and musical competence of just one of the guys in that band. TL;DR: You cannot say that a handful of bad musicians becoming rich means that the majority of good, hard-working musicians' success therefore relies on luck.
  7. I think that overall, what you're saying is true, but I think you put a bit too much emphasis on "luck" and this bolded text in particular. I've attended, since its inaugural year, what is now the largest annual video game devs conference/mini-E3 in Western Canada. I've met one other composer who can be bothered to show up to whatever kinds of events are going on. I've met a composer who showed up blasting bad music sequenced with Guitar Pro and when (surprise) no one hired him, he never showed his face again. The story rings true in the indie-film scene as well. The most successful rock band where I'm from, is Nickelback. Every other rock band around here can't be arsed to learn to play to a click track, won't learn even BASIC music theory and are just terrible in general. For all the hate they get, Nickelback is the best and most competent band we've ever produced. Every group of overweight guys and their attempts at "metal" shit on NB though and no word of a lie, the average elementary school is producing more competent musicians than these haters. Yet, they can't understand why they rarely get gigs and they're always unpaid; it's the Dunning-Kruger effect in high gear. I've made more money than any EDM producer, rock band, etc. in my area that I know personally (and I'm certainly no millionaire) 6 years ago, when I wasn't even half the musician I can be now, off scoring indie games and stuff simply because I was willing to try and learn and improve best I can. I'm willing to get out there and meet people, I'm always trying to learn how to compose better pieces, learn more theory, etc. Yeah, luck is involved, but that "luck" is more the result of working hard and placing yourself in situations and relationships that can open doors for you. It's like the luck involved in any other field you try to break into: You can't just GIVE yourself the job, but you can do can your best to (hopefully) make yourself a much more attractive hire than your peers and hope for the best — it's all you can really do, but if you don't even give it an honest effort, you'll never succeed. The truth is: If there was a recipe for success, most people couldn't be bothered to put in the requisite work necessary to do those tasks.
  8. The DAW and VSTs work symbiotically The best ones, depending on what you're looking for, do often fetch a high price tag. My recommendation for buying VSTs is to grab what you can from as they usually have the best deals on VSTs they distribute and make a lot of great libraries themselves. Alternatively, the Composer Cloud by East West is a great subscription based service.
  9. Yeah, I'm fairly certain the rock/metal genre has the "live instruments on OCR" market cornered.
  10. That's what she said It does, you also want to pay attention to the specific types of motion among the voices (rather than just simply creating inversions) and from this you can get into serious counterpoint territory. The sentence and period structures are classic ways of phrasing themes. Here's a good tutorial about them Sentence Structure, John Williams "Flight To NeverLand Theme": Period structure, John Williams "Anakin Theme"
  11. Wow they finally released this game. Only took 3 years for a port...
  12. Okay, I'm sorry, but I've been here for quite some time and this is the most insane feedback I have ever seen on any music forum anywhere. Whether you find his track "cliche" or not is completely irrelevant to making a quality track and in dance music in general, there are very specific basslines, sounds etc. that define the sub-genre in question and as such listeners expect to hear them and they also play to timbres strength. You actually recommend he undergo shock therapy to be "forget whatever he knows about music". For real? I don't know what you're smoking, but pass some of that this way. ANYWAY Here's a few problems: • The bass synth is pretty cheesy. See if you can find or create a deeper sound with a bit more sustain. • Timaeus talks about the lack of melodic contour. This can be solved by having using strong voice leading in your lines and correct utilization of non-chord tones. Here is a good list of the types of non-chord tones that create dissonance and how to resolve them. • The lead synths sit above your voice, playing a different melody and this is a problem because our ear is naturally most perceptive to the highest frequency in the piece. As such, it's easy to lose focus of your voice and just start listening to the synth. • Past the 1 minute mark, you have these low organ-sounding chords going on at the same time as that high synth, creating significant gap. Further regarding overtones, that synth is voiced considerably higher than your singing voice and organish patch. As harmonies are played lower, they should be spread out farther apart; as they go higher in pitch, they should be closer together. You have a great voice, though! Keep it up man!
  13. Everything everyone else said and.. • Proper voice leading will help you switch between incredibly different ideas seamlessly with little effort. • Varying the intensity and density of the arrangement • One bar between the sections that acts as a "fill" of sorts. In this bar, you might bring in some of the voices from the next section while ending the previous section on a V chord or some other cadence. Utilizing contrary motion between these new voices as they rise/fall to toward the new harmony (generally the tonic chord) is very effective. • Ending the section on the V or VII chord and using sound design to the lead into the next part • Keeping an ostinato or one element the same into the next section. • Modulation • Composing themes with sentence and period structures helps greatly to make clearly-defined sections. Examples that utilize these concepts:
  14. I was initially envisioning a bank robbery XD
  15. Just chiming in to say that I have looked — No, scoured through layers of the internet for a good alternative to After Effects for those kind of visualizers and I have found nothing that can get you any more than 75% of the way there at best. It really does seem to be an After Effects trademark; like, it's arguably a selling point now.