• Content count

  • Joined

  • Last visited

  • Days Won


About JohnStacy

  • Rank
    Dan Hibiki (+75)
  • Birthday 12/09/1992

Profile Information

  • Gender
  • Location
    Clarendon, Texas

Contact Methods

  • Website URL

Artist Settings

  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
  • Software - Preferred Plugins/Libraries
    Cinesamples, Default Logic Plugins, Fluid GM3
  • Composition & Production Skills
    Arrangement & Orchestration
    Mixing & Mastering
  • Instrumental & Vocal Skills (List)
    French Horn
  • Instrumental & Vocal Skills (Other)
    Jazz Improvization


  • Real Name
    John Stacy
  • Occupation
    Teacher/Freelance Jazz Performer
  • Facebook ID

Recent Profile Visitors

1,554 profile views
  1. Ads on OC ReMix YouTube Channel

    Not sure what is needed of artists, but I do consent to having ads on videos with my content both past and future. A bit out there suggestion, maybe add and remove ads in batches depending on need. If costs to keep the site going go up, increase the amount of videos with ads from a pool of people who consent to get the needed amount. If costs go down, do the opposite. Use it as a secondary source of income that varies depending on need. Unless the metrics of $25 per day come from the week when all ads were enabled. Then maybe use the whole pool of people who consent.
  2. My initial thought is that this is way too close to the original. Anytime somebody presents a version of this track I get excited to see what they would do with it. This version, although it uses orchestral sounds, I would not call it an orchestral version, since it doesn't really take advantage of the orchestral idiom. It seems like the original theme was just put note for note into orchestral samples. What I would do: Listen to epic orchestral music. Original music. Listen to compositions by Mahler, Bruckner, or modern film composers. Get a feel for how they write for the orchestra. Have an idea for techniques and colors that generate new moods. For example, your track uses a lot of everybody playing all the time, which loses the effect very quickly. Think about movie scores. If something intense is happening, is the whole orchestra playing the whole 10 minute scene? Or are there moments of low energy, low volume to contrast the big sections? Also think of it from the perspective of a player. If I had to play this track, rehearse this track, it would gradually wear down myself and the other players because playing loud like that the whole time is quite tiring. It also would get very bland really quickly, because even really good musicians can have a difficult time making something out of a part that has an FF dynamic the whole time. Look at the form. You have a verbatim repeat of the form from the original tune. It has the same melodic and harmonic bits as the original in the same order. For something to be epic and orchestral it should have a form and developments that build energy. Imagine a slow beginning. Low energy, even menacing. From that it builds to something huge. Orchestral music builds off the classical orchestral idiom. A lot of colors/gestures/etc that are used in modern orchestral writing usually came from the symphonies, tone poems, and operas of Mahler, Strauss, Bruckner, and Brahms. As well as numerous other composers. If you are going to produce something in that idiom, pay your dues to where the idiom developed from and it will come out much more convincing, and as a result much more effective. I made a post about this particular theme and how it works in arrangement in this thread. Feel free to read up on it there, as I go more into idiom and genre crossing.
  3. Not cool bro panel.

    Click here to join the discord I help
  4. Not cool bro panel.

    On the thought of communities who don't have bars, they do have coffee shops. I'm part of a small community that is growing and attempting to establish itself. It will remain unnamed. I'm doing some arranging for them, but mostly just being a brass player recording for people (I guess that describes my involvement in many communities at the moment). They have a bar, kind of, but it's really low. I was used to OCR and the way they did things, came to this new one, and recorded for a guy. I knew I wasn't the only one recording, but what ended up happening in that track was just playing all the recordings as they were sent on top of each other. It sounded very weird because one of them was recorded in a tiny room, and one in a much bigger room. And those differences were really pronounced. There were a few tracks that were this level, and while it wasn't bad, it was very unrefined and unpolished. On the other end, it still is kind of weird that there will be check ins on progress and for the most part, people won't start their tracks until a week or less before deadline, and the end result sounds like they threw it together last minute. However, it will still be sent out. The majority of this community is producing good, well polished content, but there is that lower end that just seems to be winging it constantly and still passing the bar. OCR I don't see as a gated community tho. I see it more as a community that wants to present well polished works of a certain variety. It's not that you have to pass the bar to be considered good, it's more like there's a certain type of production that is wanted.
  5. Not cool bro panel.

    I think a part of music in general is making the most of what you have. I have samples, I don't use them very much. That's mainly because I don't write orchestral music anymore, and I'm not really interested in doing other things. This is mainly because it's so frustrating that what I can produce with samples isn't as good as what I'm used to hearing performing in orchestras. I hate sampled strings because for the most part soft note = weak mushy attack that can't be used in any context ever. I'm primarily a jazz musician who loves big band stuff. Samples are even worse for that. So I'm going to do a lot of smaller stuff, ie horn only with electronic filters, or small horn ensembles plus rhythm section. Of course I could go into electronic music and all those genres only using synth, but I'm not interested and can't be bothered to learn that beyond what I already know. If I go into those genres I'm going to do it using the horn and effects. Recently I submitted a track to a contest, an album, and the panel. It got put through the panel in a week with a no, and upon reading the reviews, it got rejected because it was repetitive and the drums were plodding and too low quality (I disagree with the drums thing, I've heard much more robotic and plodding drums be accepted in the genre before in other places). But then that opens up the idea that my taste and what sounds good to me is "wrong" since everybody but me seemed to complain about those everywhere I went. Lost that contest, was somewhat lower than 15th place, my general reviews outside of OCR were basically "Um...nice...I guess...drums though?" Or "This was great!" without any suggestions as to what could improve. While everybody else in that contest got stuff like "Your mixing came a little short, although your use of (insert standard jazz instrument/cliche arranging technique) compensated for it well. Maybe consider doing (insert new thing here) to liven up the thing." It basically came out as "Yours was the best last place entry I've ever heard." I was actually very happy with OCR's feedback because it was very specific in the problems I needed to fix to pass the panel. I probably won't resubmit that track. I got so excited that I made a track I thought was really high quality and a great statement of who I was as a musician. It really was far from it and that excitement popped like a bubble when I was one of the few people who thought it was actually a good track. Having two tracks that have been approved, and one that has been rejected, I think the panel is decently fair and when they do say now they always have justification for their answer. OCR isn't the end of the road for music, but I think having these standards have made me more critical in my listening to my own work. It's like the world in a way. Everybody likes my stuff, suddenly I get a client who likes it differently. Am I going to bitch and complain that the client that is paying me has bad taste or am I going to get the job done to satisfy the client?
  6. Getting work in music industry

    I get basically all my music work from one of two places, session work and teaching. Teaching is basically irrelevant to what you want to do so I'll leave it out completely. The other thing is session work. At this point I've all but abandoned arranging and composition of music in my career due to factors that make those areas really unattractive to me right now. Generally I just record horn, but I also do stuff on trumpet and trombones as needed. As a result I get a decent amount of work, not enough to survive off of but then again I'm not aiming to survive off that work, and as a result I'm not regularly and actively seeking it out. (most of my time goes to teaching, and that's where my income comes from). Upside is that I get to pick and choose what jobs I take, downside is that it isn't going in the direction I would like yet. But it has led to some fun projects that have been decently successful, and it does add to the resume. I've known of plenty of people who entered the industry as a session musician, then after building that reputation could move on to more of a frontman role in either performance or also arranging/composition. One example is trumpet player Wayne Bergeron who was active as a performer from the early 80s until releasing his first album in like 2002. During this time, however, he established himself as the go to lead trumpet player and recorded on many projects for quite a few big names. By the time he wanted to make his own album, he already knew so many people that he recorded with that finding people to perform on his album was relatively easy, and his reputation as a performer removed the "proving himself" phase of being a solo artist. A lot of music is who you know, and it is no different being a teacher, solo artist, sideman, or composer. If you aren't really well known for anything, then it's really difficult to get known. But if you play guitar/bass/horn/what have you for somebody who has a reputation, then that's a credit on your name. Enough of these credits and people know you from one area or another, and then you can start building a thing. By the time he recorded his album, Bergeron had already had something like 250 credits to his name with big names in the industry, as well as recording on quite a few movie soundtracks. Similarly, Jerry Hey became really popular as an arranger for Quincy Jones, Earth Wind, and Fire, and other names like that. His experience as a trumpet player led to arranging work which opened that door. There are plenty of musicians on youtube that are REALLY great musicians, but they average 50 views a video, and maybe have 10 subscribers. On the other hand, there are some musicians who really aren't that great, but they get 70k views a video and have 20k subscribers. Difference? People know who they are. Other difference? Marketing. Some of the ones with basically no views and no subs are not really sticking out. If there are 1500 guitarists all doing fairly similar metal covers of Megaman music, nobody is going to look through all 1500 of them. A good majority of those will stay in obscurity no matter how good they are. A lot of this may or may not apply to you, but for a question like this, any thoughts given help because of new perspective. As for starting your career as a recording artist, I don't really have many thoughts because I've never tried to do that, and don't forsee it happening in the near future in my own career, so I've never really looked into what it takes exactly.
  7. So I recently submitted a track to multiple places, one competition, an OCR album, and then to the site. I had to finish the track on a tight deadline. I worked hard on it, and was very proud of the end result. I got feedback from the community around the competition and it was overwhelmingly positive and very well received. Thinking it was a nice track I was proud of, I submitted it to OCR. It went through the panel fairly fast. Here is the thread in Judges' Decisions Originally the track was written in Ab major, but then it went a little high in the trumpet part, so I wrote it down in the key of Gb, which was a bad idea, since it made recording quite difficult, but the performances of the brass were not the problem here. The rhythm section parts (piano, bass, drums, and there is a guitar in there but you can't hear it) were generated in band in a box, then edited to fit the track. The piano and bass worked really well, and for all anybody knows so did the guitar. The drums were one of the things that kept getting shot at, which now is something I can't unhear. The other thing was the arrangement, which went on a little while without changes in energy. Here is the track, the version I submitted to all these places. I'm putting this in Workshop as a work in progress to get more feedback on what I can do differently with the arrangement, and what I can do to not have to record everything again. I might just program the drums myself or record them in manually with a midi keyboard, since I now have better drum sounds.
  8. I am a band director at a small town somewhere in Texas (there are about 30 kids in band there). The title sums it up pretty well. If you were in band in middle/high school, etc, what do you wish your director would have done differently? Yelled less, been more strict, played more, anything. I'm just curious, and figured this would be a good thought experiment. If you have a story you connect with your thought, feel free to share.
  9. Smash The Record: The Record - History

    I'll take Super Mario. Have a thing from Super Mario bros 3 I could do.
  10. Parts in games so difficult they made you stop playing

    Harry Potter and the Chamber of Secrets for the gameboy color. That was a really oddly balanced RPG, with the possibility of getting through most of the game rather easily, then suddenly hitting a boss that was absurdly harder than the other bosses up to that point. Then you get to the final area, and you had better hope you were strong enough, or the random encounters would be too much for you, you would run out of items really quickly, and you would have to grind REALLY slowly to be able to beat the game. Worst part was once you got to the final area there was no going back at all, so you couldn't grind on slightly easier enemies. Then the last battle was disproportionately more difficult than every battle before it.
  11. I would like to contribute as a performer (all brass instruments, non brass instruments depending on the circumstance). And also I heard there were voice acting roles? I most likely won't be able to take a track to arrange this time around, but would love to contribute as much as possible!
  12. Metroid: Orchestral Fusion

    I just found this project. What is the updated status just out of curiosity?
  14. @Ridiculously Garrett Maybe it would be easier if you recorded your performance as midi data? Then we could experiment and find the best sound for each arrangement. I'm not aiming for a specific range of games or eras. I have a slight preference for older games, just because I'm more familiar with them, but not a preference in a way that influences the track selection. If the arrangement is good, I'll take it.
  15. If possible I would like to have something done by the end of next summer (Let's say late July). Once I get an idea of who wants to contribute and whatnot a schedule can be nailed down. Going faster than next summer actually couldn't be out of the question.