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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. Well you did say "something usable to learn with" which I saw as the same thing - the advice takes many forms. and I disagree about Symphobia (I wasn't referring to it specifically, though) only being capable of the style that I think you're referring to. Though it's true that it's primarily aimed at that kind of music.
  2. I agree with everything Gar says except the first half of this. Spend the most amount of money on the highest quality stuff you can afford right now or save up a bit to get the highest quality stuff you can then. It's true that poorly arranged, badly sequenced compositions are gonna sound bad whether you're using the best of the best or the worst of the worst, but I'm a victim of this frighteningly common mentality that if you're inexperienced, you should start with the low-end stuff and work your way up. It's music; not surfing or learning to ride a bicycle with training wheels where you can outgrow your board or bike. Would you rather be a n00b with the best stuff out there and then become a top-tier composer and still have the best samples money can buy or would you rather become a god-tier composer with utter shit samples and now have to spend MORE money (quite easily thousands depending) on quality samples? The choice is clear, to me. I know it sounds dramatic, but this has become one of my greatest regrets in life. I bought all this low-end shit and then some mid to higher-end stuff like ProjectSAM and in the last while, I've really been focusing on improving my orchestration and arranging skills and it's made me realize I should've just gone with the ProjectSAM or maybe Cinesamples stuff to begin with, because now the cheaper, old, "entry" stuff is useless and money essentially wasted.
  3. I must question your motivations in posting that snarky link, then, if even you agree that the software is good (now). I specifically mentioned that the latest version is good and has received a lot of positive feedback. For years I have seen complaints from average Joes on forums, but I'm struggling to think of any composer I've personally met who uses the software or a lot of the more esteemed members of VI Control echoing these sentiments; so I've not seen evidence that "PLAY sucks balls" (Tekkera's words) is the consensus as you suggest. It really doesn't matter though, since Zubaru is going with CSS — I've no doubt he/she will not regret his/her purchase.
  4. Haven't got around to playing this yet. But I still want to soooo bad. Also, dat Main Theme with Julie Elven (?) good.
  5. The reality is that most people who use the software do so without issue across Mac and PC with all industry-standard hosts; especially with version 5. So because you've had a problem with it, that means it's bad software? It's like Windows 10. It's installation, for whatever reason, refused to work with music software on my machine despite no reported compatibility issues. It doesn't change the fact that most users here, seem to use it without issue. Lots of people, outside of music-related tasks, have grievances with Windows 10 — doesn't mean it's inherently bad software. Yes, some people have had technical problems with PLAY. Like they do with every piece of software ever made. Hollywood Strings is still a great library, well worth the money if you can swing it.
  6. Not trying to "start anything", but I've seen this complaint for years and I still don't get it. The PLAY engine works great; I've never had a problem with it in the years that I've been using it. So I would not use PLAY (aside from the ilok) as a reason NOT to get Hollywood. In fact, the only reason I wouldn't recommend Hollywood Strings is because of the price and it's the Diamond Edition that gives you all of the Mics and it's a pretty demanding setup. Most guys I know who use it are using slave machines. That being said, East West does do a fantastic job with their samples and those libraries usually contain unique samples not found too often elsewhere. Even with Symphonic Orchestra, the "lyrical" and "expressive" patches are really great. On a related note, Zubaru wants strings with a "cinematic" sound. I'd argue that no library inherently sounds "cinematic" as that sound is more just a style of orchestration and including ethnic percussion and sound design in the music. The only thing that makes a real difference with the samples is if they were recorded on a scoring stage instead of a hall. There's also 2 kinds of "cinematic", in my opinion. 1) The "Old Hollywood" sound, characterized by soaring strings and brass with lots of woodwind flourishes, fx and ornaments and fast string runs within the lydian mode. 2) The "Hans Zimmer" sound which is largely ostinato based and as such, those close mics are important. Most libraries these days seem to cater to option 2.
  7. Is it just me or are all of your posts lately just you bragging about this and how you think mastering piano is easy? I don't mean to be a dick, but when you make topics like this, you just come off as really pretentious. To your OP: A) It's not true that no one else can do it. I had a teacher who definitely had absolute pitch. B ) Are you sure you have absolute pitch and not just really strong relative pitch? A lot of people mistakenly think that a good sense of relative pitch is the same thing, but it's not. Just because you learned to play Countdown from Punch Out or Eye of The Tiger (which are not exactly complicated pieces) by ear (and remember them) doesn't mean you have perfect pitch and you are more likely to remember music learned from ear anyway, so the passage of time is not relevant. For example, I can often tell what tuning the guitars are in and how to play a particular guitar riff or chord progression without having an instrument to compare. However, at this point it's not so much because of my sense of pitch as it is my familiarity with electric guitar music and recognizing recurring patterns and timbres. If you can hear a song just once and without singing or playing an instrument for reference you can name me all of the notes and their octaves, what chord and what inversion, in order and be right all the time, every time, then you have perfect pitch. Otherwise, it's just relative pitch.
  8. Yeah. Your choice is mostly regarding your needs. Like, if you're doing electronic music, FL or Ableton is probably among your best bets given their workflow, layout etc. I would not try to score a film or record a band with FL studio though...
  9. Logic, Cubase, Reaper, Digital Performer, ProTools, Studio One, etc. are all equally good. It really is a (mostly) level playing field now.
  10. This is primarily an issue of composition. Focus on improving that before anything else. • Your pieces lack a strong sense of harmonic direction and movement. • The melody lacks phrasing, pleasing contour or true thematic structure. It sounds "random" as a result. • The pieces are extremely repetitive. Without introducing new elements at regular intervals, repetition gets boring fast. Think of it as if you're sitting outside on a summer day. First, you notice the breeze passing through trees; then, you hear a dog barking in the distance; next, you notice the sound of traffic, etc. Each time a new sound comes in, you're still hearing the previous ones, but your focus is now on the new one. Use this same effect in music. • The arrangements don't feel very "full". Try adding in more instruments, counter melody, arpeggios etc. Basically, create more movement. • Try harmonizing some of the melodies either via counterpoint, thirds, octaves or other doubles • Greater range of dynamics to create sections that sound "bigger" than others. Some sections should be soft, others played more fiercely. • Use cadences, instrument flourishes, rolls, etc. to create transitions between sections.
  11. The rock goes on
  12. Era II is the best VST for Medieval and European folk instruments by far. As I recall, it includes excellent, true legato samples of all the instruments you mention and then some. There is also a fantastic vocal library add on including tavern singers and female voice by Celica Soldream! Nvm, I just saw you're looking for freeware...
  13. Carrying on with my action movie inspired rock tunes. Makes titling things so much easier
  14. Hey. Some rock music I did recently that has an anthemic, shuffle sort of vibe and possibly punk music influence. Let me know if you love it, hate, or have mixed feelings that are strange and confusing about it.
  15. Reinstalling windows 10 did not fix the issue. Either way, I prefer 8 and wish they'd have stopped at 7