Muuurgh

Members
  • Content count

    33
  • Joined

  • Last visited

About Muuurgh

  • Rank
    Octorok (+25)
  • Birthday 07/27/1987

Profile Information

  • Location
    Charlottesville, VA

Contact Methods

  • Website URL
    http://www.scorevgm.com

Converted

  • Biography
    Composer/Arranger/Saxophonist. Founder of The Hard Modes, a VGM-based jazz ensemble.
  • Real Name
    Greg Weaver
  • Occupation
    Composer/Arranger
  • Facebook ID
    scorevgm
  • Twitter Username
    ScoreVGM
  • PlayStation Network ID
    Muuurgh
  • Steam ID
    ZORAKC2C

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Finale
    Logic
    Reason
  • Software - Preferred Plugins/Libraries
    Komplete
  • Composition & Production Skills
    Arrangement & Orchestration
  • Instrumental & Vocal Skills (List)
    Clarinet
    Saxophone: Alto
    Saxophone: Baritone
    Saxophone: Soprano
    Saxophone: Tenor
  • Instrumental & Vocal Skills (Other)
    Recorder

Recent Profile Visitors

490 profile views
  1. Symphonic Gamers Orchestra

    Haven't listened to the whole thing to give you a track list, but you can at least tell which game the tracks are from via the pop-ups in the bottom left. On the bottom line before the closed bracket it'll have a roman numeral (as long as it's from one of the core series and not the first FF game). It reads: "From [Final Fantasy (number)]" (to avoid confusion, "from" is the word that's on the right side of the brackets").
  2. Debuted this arrangement back on 9/30 with my jazz/VGM group, The Hard Modes (I'm playing sax). I counted it in a hair too fast and ultimately rushed the melody--the groove definitely could have benefitted from us laying back a bit more. My excuse is going to be that this was the second-to-last tune of the show and I was amped up from how the night had gone to that point Also, fun fact: the groove was influenced by Bernard Purdie's work on Steely Dan's Home at Last. If you'd like to read more about the project as a whole you can also check out my website. Thanks for listening!
  3. Digging this! Really creative idea that has a fun contrast to the source track. It leads me to imagine some ogres romping around the halls of the castle sloshing some steins around. I would recommend amping up the lead-in stuff. Playing the rest of the track at what I'd consider a reasonable volume, it takes about 8 seconds for me to grasp a real hold of anything, which is a bit too long for me. Also, I don't anticipate that you'd lose anything if the guitar is at the volume (or maybe even slightly louder) than the accordion when it comes in at 0:12 due to the stark contrast in timbre. A more prominent intro will make a stronger first impression ^ _^b
  4. Thanks so much! I'm fortunate to have some great players in the group--they brought it for the whole performance and especially kept things on high octane for this tune. Definitely looking forward to writing more and sharing it with you all.
  5. These recordings came from the premiere of my VGM-based jazz group, The Hard Modes, on 9/30 (same as my last post). This particular arrangement was inspired not only by Uematsu's original cut, but also by the ridiculously awesome cut from the piano collections album. Enjoy! If you'd like to read more about the project as a whole you can also check out my website. Thanks for listening!
  6. Hey man, this rocks for sure. Arguably the hippest part of the tune is the beginning with those sweet subdivisions, though, so I'd recommend adding that in. May be tough to get the hang of, but would be totally worth mastering.
  7. Thanks, Wiesty--totally down to collaborate with you guys sometime!
  8. Hi, everyone! I recently completed an important phase of a long-term jazz/vgm arrangement project that I have going on called The Hard Modes. I wanted to share it with you all and get your feedback. I premiered 7 arrangements at a live show a couple of weeks ago and recorded the show using a Zoom H2 recorder as well as a no-frills camcorder. I'll be posting the tracks individually over time, but if you like what you hear you can always check out the other parts of the set through SoundCloud or YouTube (though we didn't capture 2 of the arrangements on video). First up is my arrangement of Austin Wintory's I Was Born For This from Journey, which was actually the last tune of our set. Some notes: The sound quality isn't great on either medium, but the sound recording sounds better than the video. That's me on tenor sax! The throwback near the end of the tune was a surprise even for the band; the spot just called for an open solo. My original arrangement was inspired by Ornette Coleman's work, although to get the work together for the show we had to simplify some of the sections a bit, which is why I labeled this a Work in Progress (ultimately, the arrangement should be freer than it is--we'll get there!). And without further adieu... enjoy! If you'd like to read more about the project as a whole you can also check out my website. Thanks for listening!
  9. And now for a totally new direction...!

  10. OCR Mascots: Class of Spring 2013 - Voting Closed

    1. Abe (Oddworld) 2. Dart (Dragoon) 3. Proto Man
  11. Finished remastering another older tune of mine. Starts with a brass fanfare as an introduction of a noble figure and leads into a Mitsuda-influenced theme that represents a medieval party of sorts. Woohoo! https://soundcloud.com/scorevgm/fanfare-and-jubilee-remastered Like the last tune I posted, I'm really hoping for some feedback on the production side of things if you hear anything I should try out. Thanks for listening!
  12. For the record, I stand by my SoundCloud comment positivity of looking forward to whatever you do next with it X)
  13. finished Woods Theme

    Yeah, that's what I thought at first, too, and it was making me really frustrated, heh. Playing around with the decay, sustain, and release of the instruments helps, as does turning off their release trails.
  14. finished Woods Theme

    Thanks! And I appreciate your honesty with the verse, haha. That's actually something that I'm working on in general; more often than I'd like, I feel that I have good ideas starting off tunes but then I hit a sort of wall. In that case, I end up forcing a 'meh' verse, which is what I believe happened here. Thank you, as well! I'm a fan of drier mixes myself. As a listener, I want to be able to hear each part distinctively, so that's what I go for when composing. The library is EastWest Quantum Leap Symphonic Gold. The samples sound super wet right out of the box, so I always have to adjust them a bit to get them to blend to my liking.
  15. Don't care to check the review myself, but FWIW, OUYA has been tweeting all day, prompting people to read this thread before making a purchase judgement based on what The Verge says.