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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


  • Twitter Username
  • PlayStation Network ID
  • Steam ID
  1. The Frontier (Retro Sci Fi)

    Between Voltron, new Star Trek and Blade Runner, it felt mandatory for me to take a stab at a classic sci-fi theme.
  2. A Witch's Welcome

    Halloween is the perfect time to create your own, spooky soundscapes.
  3. A Dragon's Tale

    Improvised tune with CS2 and Cinebrass.
  4. Underwater Ambience

  5. SNES Classic

    I just hope we get an N64 Classic next. That might be pushing it, but I'd buy it.
  6. SNES Classic

    I find it funny how gamers tend to complain that the industry is out of ideas and there is nothing new, but trip over themselves to get a relaunch of a nigh 30-year-old console.
  7. getting work in music industry

    The only thing I can add is composing for production libraries or original scores for different kinds of media. In either case, orchestral and hybrid music is the most in-demand, but also the most expensive to create (those high-end sample libraries and requisite computing power don't come cheap) and may not be your thing(?) Regardless, stock music that is used in advertising can be very lucrative if you have a popular track and/or get placements in big advertisements. Probably the biggest are movie trailers, but the trouble there is that most of this music requires you to be, at once, terribly generic and still somehow different enough from the convention to stand out. Competition is fierce. Best you can do is find libraries like position, liquid cinema, etc. and submit a portfolio when they are accepting them and see what happens. You can try doing it yourself through places like AudioJungle, but these places generally offer mediocre deals (to put it lightly) and there is so much crap that it's hard for a potential licensing opportunity to find you: It's basically where people who failed to get into the big leagues go to die; harsh as it sounds. The next one is composing for films, games, TV. I'd seriously consider it since you're in BC and TV and film are popular there; I'm actually working on a short film from Vancouver atm. Of course, finding paid gigs can be tricky and you'll have to accept garbage gigs that pay nothing in order to get anywhere at all in the beginning — those IMDB credits matter. The only way to get into this is to get out there and meet people and other composers in the business (perhaps most gigs come about by referral!), perhaps become an assistant to an established composer, etc...all combined with a considerable amount of luck. I know that, obviously given this site, video games are popular and I've seen many articles that brand them as the great frontier of opportunity for composers, but it has been my experience for the better part of a decade now that this is quite far from the truth, I'd actually argue that it's more difficult to get into, but I'll not elaborate so as to not go on a huge rant. I wouldn't focus on it specifically, is what I'm saying.
  8. Looking for a laptop for music production

    Thread is two years old =/
  9. Adding new instruments.

    Provided that your lines flow well (voice leading), and have a nice contour, it's mostly creative decisions. One thing to consider, is that many instruments have a "golden register", a pitch range where they sound best. On the other side of the coin, some tend to sound awful in certain ranges. The only way to learn this is through familiarizing yourself with the instruments you want to use, as well as studying orchestration in general. So, be careful of that. A great "trick", is to "lead in" to the melody from the previous bar. Say that the first real note of my theme is an A, in A minor. I could lead in to that from the previous bar with two eighth notes of E and G below it. A good example, would be this piece: So, it starts with that famous Celesta line, which is occasionally harmonized with itself. As the theme comes back "home", we get those fast string runs and that oboe trill @ 43 seconds that imitates an owl hoot for a few bars, and then the horns play the theme. Note the second theme, starting at 1:35. It's played by the winds, and then is restated at 1:48 by the trumpets. You'll notice in each case, that there is just one note that leads in to restatement of the theme. In the first part, the horns play that fourth below the first beat of the bar where the theme really begins. In the second example, it may sound like the trumpets just "start", but if you listen, the exact same thing is happening as in the first example. It's just that the woodwinds play that note (harmonized) before the trumpets begin; so you get the same effect. The music theory term for this, is an "anacrusis"
  10. Happy 20 Years FF VII (North America)...

    The most over-rated, turn-based, animu number simulator of all time. I was 5 when it came out.
  11. Newbie Needs Feedback

    Be careful with this. The ipad's speakers are too small to reproduce the low-end frequencies, but a car stereo can easily give you the exact opposite problem — too much bass. If you can, I'd recommend in investing in at least a good pair of headphones that will give you as "flat" as possible of a frequency response. I recommend the AudioTechnica ATH-M50x if you can't afford or don't have an ideal room for speaker monitors.
  12. Newbie Needs Feedback

    @Silverpool So I'll try to provide a bit of an explanation and link to some resources. You're a pianist, so that will make things much easier to explain. I assume you know the notes on the instrument? Here is a chart. • So all of the white keys, going from C to B, form the "C Major Scale". This gives you 7 notes to work with. A distance of two tones, counting the black keys too, is a "whole tone" or "whole step"; a distance of only one key between notes is called a "semi tone" or "half step." Since "C" is what we're using as the basis to create the scale, we will refer to C as the "tonic" or "root" note. Notice that between E & F as well as B & C, there is only a half step but no "sharp" black key. As such, there is no B sharp or E sharp. The distance between two notes is referred to as an "interval". • The formula to create the major scale, in any key, starting from the root note, is: Whole step - whole step - half step - whole step - whole step - whole step • Starting from any note you choose on the keyboard, this formula will give you the major scale for that key. • Now, if you count three keys down from the "root note" of your major scale, you will get the minor equivalent. In the case of C Major, counting three keys down, the note is "A". So, all of the same notes as the Major scale, but instead is "minor". It has a different sound, trying playing all white keys from C to the next C note; then, try playing all white keys from an A note to the next A note, and you will hear the difference in sound. Congratulations, you now know the musical scale used to create ostensibly all of western music! But why is one major and the other minor, you ask? The answer has to do with "triads" (three-note chords) that can be built from the "root" of the scale. To form a "major triad", start from your root note, and count up four keys. This will give you the "third" interval of your root note; a "major third" specifically. From this major third, count up 3 more keys, and you will get the "fifth" of the root note. In C, this gives us C, E and G. To form a "minor triad", start from your root note, and count up 3 keys. This will give you the "minor third" interval of your root note. From this "minor third", count up 4 more keys to get the fifth of your root note. In "A", this gives us A, C, and E — an "A minor chord." So, you count "4 - 3" to form a major triad, and "3 - 4" to form a minor triad. Easy, right? • If we apply this formula to all of the notes available to us in the scale, we can form 7 basic triads. Starting with the root in C Major, we get: C Major, D Minor, E Minor, F Major, G Major, A Minor. You will notice that this is only six triads. The reason that the B triad is omitted, is because it is a "diminished" chord. If you use the counting formula, you will notice that F# is the fifth of B and NOT simply F. F is a half step lower; a fifth that has been lowered by a semi tone is considered "diminished" and a diminished triad sounds "dissonant" or unstable. • Melodies, the "tune" of the song, are constructed from the scale as well. To harmonize a melody, all one must do is match the notes of the melody to chords they belong in. For example, a melody note of "C", in C Major scale, could be part of a C major triad, an A Minor triad, or an F Major triad, as the C note is present in all of them. To practice this, try coming up with a simple melody using only quarter or half notes. For each note you play, play a matching chord with your left hand. The practice of changing chords to a specific rhythm, is called a "chord progression" and certain chords "prefer" to move to certain other chords. • Once you are comfortable with this, you can move onto more advanced subjects. Including: Creating basic chord progressions Using notes not found in the current chord in your melodies The harmonic series, or why you should use wider intervals in the lower register and closer intervals in the higher register. How to smoothly change chords by using "inversions" (the notes of the triad played in a different order) Extended chords and harmonies created by combining different intervals to create more complex chords The seven church modes and how harmony works when "fifth" and "fourth" intervals are stacked to create chords instead of thirds. Hope this helps!
  13. Newbie Needs Feedback

    Learn music theory; specifically "functional" 4-part harmony to solve the issue of your music not being "in tune". Learn the 7 basic triads that of the diatonic scales (Major and Minor) that are applicable in all twelve musical keys. It might seem a little complicated at first, but it's actually really simple; you could probably get the hang of it in less than a week's time and you'll know how to effectively harmonize a melody and voice chords. All you need to know is seven chords, how to effectively change chords (voice leading) and just one scale. You should be well on your way in no time. As for the samples, all you can do is become more experienced using them until you hit a brickwall (and you will) of what they're capable of and will have to purchase "higher-end" or otherwise "superior" samples that suit your needs.
  14. Underwater Ambience

    A cinematic, ambient track; my first real attempt at creating a piece of music with Cubase!
  15. OCR Cribs (the "Post Pics of your Studio Area" thread!)

    Mirror, Mirror, on the wall