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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
    Saxophone: Alto
    Saxophone: Baritone
    Saxophone: Tenor
    Vocals: Male
  • Instrumental & Vocal Skills (Other)
    Jazz Improvization


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

Recent Profile Visitors

1,836 profile views
  1. May I have Ruby Sunrise?
  2. Madoka Magica cover - "Make a Wish"

    Watched this with Lauren. Her thoughts: The instrument choices pair well with the sentiment. Almost like a music box kind of way. They also complimented the voice well. The style of singing had a lot of movement without being complicated. My thoughts: This reminds me of an album I used to listen to when I was very little (I don't remember who it was or what it was, but I remember listening to it). I am very unfamiliar with the anime (I just don't watch much anime), but it seemed to go very nicely with the video. Overall, the style of playing matches the style of singing quite well.
  3. Actually I got two Paper Mario mixes in the works right now, both from the original. Maybe might have a 3rd down the line, but I just have these two as part of my youtube project. I won't do the entire soundtrack, I'm just picking my favorite tracks, but I hear your request and will answer.
  4. Anytime somebody does an orchestral setting I get a little excited. Orchestration is very nice. There are a lot of good textures in use, both from the original setting, and with your personal choices. The first statement of the ocean theme at :41 I think could have a tiny bit more action in the strings. They're just basically pads in the original, but for an orchestral arrangement, I don't think some added counterpoint would be unwelcome, simple things when the melody is sustaining. Again at about 2:00, there is plenty going on in the brass so you don't need to make it more, but a slightly varied higher string texture. The only reason I bring this up, is that lack of motion in the original bugged me just a little bit. This is a tiny nitpicky thing. The field theme is well done. Transition to the sky theme, that would be breathtaking to hear live. A thing I do in noteperformer is basically do 3 string layers. One layer that is an ensemble, one layer of solo strings playing exactly the same thing, but down a dynamic level, and then a layer of short notes on the attacks, also down a dynamic. I focus on the notes that would be a downbow when performed, and give those a marcato accent. This is not needed in softer passages, just the heavier ones. You can then hide those extra staves in sibelius so that your score doesn't get cluttered. This is a small little thing that works wonders for the sound. If interested, I would enjoy recording horn for this. It would be fun.
  5. OverClocked ReTreat

    I can probably help with the organizing thing. Deposit would be out of reach for me right now, but as far as handling organizing how this thing will go, I can at least contribute. (Plus I'll see if I can get some good BBQ catered for a meal while we're there if I do contribute)
  6. OverClocked ReTreat

    OH GOD YES DO IT IN TEXAS. Actually Fayetteville is a nice area. I would warn that during the summer it can get pretty miserable down there due to high temperatures and high humidity, but it's generally somewhat nice. If we're opening up to this state I can look around as well and see what I can find.
  7. OverClocked ReTreat

    Going to follow this to see what the cost situation will be.
  8. Does anyone even really read this subforum any more?

    I read through it occasionally to see if there are any tracks that I forgot existed and am like...hey I should totally do the JohnStacy thing on this track, but for the most part I don't go through and listen to every request due to lack of time.
  9. 1. work-in-progress Ocarina of Time Title Theme

    At the beginning, the electric piano I think could have some panning. My first keyboard was a portable grand piano, and one of the electric piano presets had it oscillating from left to right and it was a pretty neat effect with the tone of the piano, which was similar to what you have at the beginning of the track. You have this lead guitar kind of sound a little bit into the track, I think it's just a tad bright (maybe a midtone sticking out) and it's a tad jarring at first. The swelling guitar that happens is very effective tho, definitely keep going with that.
  10. Super MAGFest 2018

    I'll be there.
  11. 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.
  12. 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.
  13. Not cool bro panel.

    Click here to join the discord I help
  14. 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.
  15. 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?