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About JohnStacy

  • Rank
    Eggplant Wizard (+50)
  • Birthday 12/09/1992

Profile Information

  • Gender
  • Location
    Canyon, 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

1,381 profile views
  1. 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.
  2. 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.
  3. 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.
  4. Smash The Record: The Record - History

    I'll take Super Mario. Have a thing from Super Mario bros 3 I could do.
  5. 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.
  6. 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!
  7. Metroid: Orchestral Fusion

    I just found this project. What is the updated status just out of curiosity?
  9. @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.
  10. 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.
  11. Last summer I had much more free time than I had ever had before. As a result I decided I would begin work on a youtube channel producing arrangements and remixes of video game music for (french) horn ensemble. I would write the arrangements, then record both video and audio, do editing, and have a video ready to be released on a regular schedule. Not long after starting, I decided that keeping a regular schedule would be more work than I could do as my free time would quickly run out. Quality was selected over quantity, and I would save these arrangements for future use, possibly on OCR. I wouldn't get involved with the OCR community until December of 2016. My first submitted remix to the site was a success, so I figured out I had found a home here. As a horn player, I've been told by so many people that the horn is a classical instrument, and it is not possible to play in other genres. I then proceeded to play professionally in a jazz ensemble, rock band, funk group, and other non professional ventures in other genres such as a gospel choir and mariachi band. I am not the only horn player who has done this. However, the view that the horn is a strictly classical instrument is still very common, and I believe that it is a very limiting viewpoint. There are many horn players who do not feel they are capable of venturing into new areas because they do not think it is possible, and there are many more who want to venture but are held back by teachers, peers, etc. I was told that I couldn't play jazz, a genre I was raised on, and the horn was literally taken away from me when I tried to play. They told me I ABSOLUTELY HAD TO play on trumpet or trombone, then when my skill level was so much lower than it was on my primary instrument, basically told me that I was no good at jazz. I want to contribute to the solution of this problem. My contribution will be a series of arrangements for horn in many genres. This is where the community comes in. As it stands now, I have 4 arrangements that are complete and awaiting recording, and others that are in various stages of completion. I would like to make a whole disc's worth of music, however I would definitely not object to having two or more. I am looking for collaborators on this project. What is the purpose of this project? The purpose of this project is to produce music with the horn as a central feature. One of the arrangements being recorded is a rock track. There are 8 horn parts, and a collaborator is recording guitar, bass, and drums. I recorded all the horns and programmed piano. The horns do most of the heavy lifting when it comes to presenting themes. The other instruments are primarily support, however they are invaluable for the end product. For a different track, it would be different, such as working with a vocalist. If that were the collaboration, they would be the primary feature, with the horns supporting. I am a little split at the idea of having a solo wind instrument other than horn as a feature, however I am open to suggestion. After producing this, there will be a body of work that can be referenced to say "Yes, the horn can do that, and yes you can do that too!" Or for arrangers, composers, or remixers to see what is possible and create new works inspired by this. What would be needed from a collaborator? There are two ways to contribute; as an arranger or a performer. Arrangement contributors would write the arrangements to be performed. Most of the work would be left to the collaborator, and I would edit minor details as needed for playability or effectiveness. Contributing as a performer could involve arranging as described above and also performance with the voice or another instrument. Performers would be highly encouraged to participate in the arrangement process to highlight their strengths. Non musically, an artist to design artwork for the album would be needed. What genres are possible? Many genres are possible. Due to the nature of the project, some genres are more difficult than others. For example, predominately electronic genres such as EDM or dubstep that are driven by synths would be much more difficult to keep the acoustic horn as a central feature. However, if those genres could be made to feature the acoustic horn I would be more than happy to oblige. I have performance experience in jazz, rock, funk, gospel, mariachi, country, and others, and have worked in even more genres not as a horn player, so gaining familiarity would not be much of a problem. I am looking at the London Horn Sound albums for reference. I am excited to work with people on this project, and am even more excited to see what can be produced!
  12. What genre of music uses only Sound Effect files?

    Musique concrète comes to mind. (Except it's not just limited to game sounds, it is sounds and other things that are used to make music that may or may not be considered music to the listener, but then again a lot of modern art music kind of works like that if you really think about it)
  13. Ninendo is launching an mini-SNES

    I was initially excited, however I thought for a minute and realized that I don't need one. I already have a supaboy (the handheld SNES), and it can play both SNES and SFC games, most of which you can get pretty cheaply online if you know where to look. My collection is sizable because of this. I can think of three reasons to get this though. 1. This would make a great gift for somebody who is interested in playing the SNES, but doesn't have access to one and doesn't like the idea of an emulator. I can think of a few people that I would give this as a gift to, like my inlaws. 2. Some of the games on here are not cheap in English (a lot of them are, but there are ones that aren't). Earthbound doesn't go for a low price, I've been tracking it somewhat regularly over the last 10 years. Normally I find a decent price on ebay, but the price rises quickly out of my range. I'm not going to spend $100 on one game, no matter how much I want to play it. I can get the SFC (Japanese) version for like 5 for a dollar, so I might do that soon, especially since my Japanese is getting better. This doesn't affect the games on this device for the most part, but it is a nice thought. 3. The battery backup in SNES carts is limited. I've seen projections that they last 20 years, which means that they will start dropping like flies in the near future, but I've also seen projections that they last even longer than that. There is actually a chance that I won't be able to play these games with my kids when they get old enough to enjoy them because saving games wouldn't happen. For some that isn't a problem, but for others like Zelda or Super Metroid that you can't beat in one sitting as a new player it isn't fun. My SNES I got secondhand and it's wearing out. It isn't yellow, but I do have to have a cushion in front of the cart to make it actually turn on, and my controllers are also wearing out. I probably won't buy this for myself, but would definitely gift it to somebody who would be interested.
  14. Today's "Pro Tip"

    @Rozovian Would you be willing to tell me more about it, if not on here, maybe in a PM? This sounds very useful.
  15. Today's "Pro Tip"

    Remembering the things I did the last time to make my mix sound better. Something doesn't sound right, what can I do? Then it hits me. Do the thing that always works again, because I forgot to do it for the millionth time. Example: This mix sounds very noisy and there isn't much acoustic free space. Why is this? Nothing I do seems to be working! Right. I need to EQ to reduce my mids. And suddenly it fixed everything. Repeat this for basically every mix I do ever.