Ghetto Lee Lewis

In terms of what keyboard you should buy, that really depends on how comfortable playing a particular keyboard. I recommend trying out a keyboard before you make a purchase. The more experience you are at playing a keyboard (piano especially), the pickier/choosier you usually are when choosing a good e-piano. GENERALLY, you get what you pay for, although this is not always the case. The comments I've read so far seem to make sense. However, a fully weighted keyboard usually does feel heavier when pressing down the keys as compared to semi-weighted keys. If you're not a trained pianist, a semi-weighted keyboard would probably be preferable to a fully weighted one (although I dont' recommend un-weighted to anyone because you don't have as much rhythmic control).

I heard m-audio's monitors are crappy. As a rule of thumb don't spend less than $150-$200 per monitor (on speakers, although headphones are obviously a lot cheaper).

If you're a pianist and you want the best response for performance, I believe it was Roland or Yamaha who had incredible piano-action keyboards (but some of them getting as expensive as $8,000 or $9,000). In those cases, it may be more feasable to buy an acoustic grand piano (unless midi is a necessity). For acoustic pianos, the best most responsive piano I have ever played is a Schimmel baby grand. Those are probably the finest pianos in the world (and the sound is incredibly gorgeous). I have played on lots of different pianos, including Bosendorfer (which is priced about $30,000 to $40,000 higher than Schimmel yet does not match the sound quality nor the responsiveness of the keys). Anway, the list price for a Schimmel is around 40 to 50k, so most of the people on this site may never get to own one. However, they are simply wonderful to play. For something less obscure and still awesome quality (and usually lower priced) go with Steinway. Anway I don't think acoustic pianos have much to do with this topic. =P

If you're referring to piano keyboards, there is a huge difference (especially if you play piano). Fully weighted keys feel more like a real natural grand piano keyboard than semi-weighted keys, and semi-weighted keys are more natural than non-weighted (i.e. cheap Casio keyboards) keys. I don't know where to draw the line exactly, but it has to do with how hard you press down on the keys, and how quickly the keys bounce back up. It's really hard to explain unless you play the acoustic version of the instrument, but the only time I have heard "semi-weighted" is referring to piano keyboards; therefore you'd have to play the piano to really understand. If you play the piano, it is very easy to tell the difference between semi, fully, and non-weighted keys when you're actually playing it. For playing live, there is nothing comparible to fully-weighted keys (except maybe for an acoustic piano), but the keyboards tend to be much more expensive. Semi-weighted keys are good for people on a budget who want to play live piano. For drum sequencing, I would think the best thing would be to get an electronic drum kit, rather than using a keyboard (although I've seen some people play some pretty phat beats using a keyboard).

performing + midi-in = arrange. Most of these guys use midi keyboards, so everything easily converts to arrangements. Anything sequenced is going to sound crappy. What more do you want?

The first two chords are easy; after that it gets more difficult. You probably won't get very far until you learn to read music and acquire some sheet music. I doubt if you can pick up on inverted chord arpeggios (and extended chord arpeggios) by ear. The best way to learn piano definitely is to take lessons. However, lessons can get very expensive. If you insist on teaching yourself, focus on chord theory. It shouldn't be that difficult to pick up on. Learn the different letter names, learn what accidentals are, learn what keys are, learn what chords are. In other words, it's like reading music but also being able to name and identify patterns. Here are the Prelude chords if you get that far into chord theory: I, vi (repeat), IV (add 9, inverted), V (add 9, inverted), flat VI M7, flat VII M7. I'm not sure if I'm naming all these correctly. If you're the key of C, then it's: C, A minor, F major add 9, G major add 9, A flat major 7, B flat major 7 (and the F and G chords are inverted, that is, the F chord starts on A, and the G chord starts on B, I think) Once you get the patterns figured out it's easy. And crossing over your hands isn't that difficult. It's when you play all the arpeggios with your left hand and the melody with the right hand that it gets tricky.

Please specify your budget. East West samples probably has the best violin samples available. http://www.eastwestsamples.com/details.php?cd_index=793 There are also Gold and Silver editions if you don't have $$$$ to spend. However, platinum has several mic positions, and the sample quality is very high. In addition to string samples, EWQL offers a complete orchestra set of samples. If you have no money, there are several good soundfonts I would look for. Squidfont and cadenza strings are great (they might still be downloadable some places). For solo strings, look for Florestan string quartet. Also Propellerheads Reason has a pretty decent orchestral set (not nearly as good as EWQL, but better than a lot of soundfonts). You can get the education version of Reason for under $200 (but if you have the money I would really go for EWQL Silver; they're much better samples). If you have a high speed connection, you can download a large package of decent soundfonts from Sir Nuts' ftp (>500 mb zipped, string, flutes, vocals, and more). I'm not going to link it because he might have bandwidth restrictions, but you can PM him about it. All the soundfonts in the zip are free, but they may be hard to find on the internet.

Hey, that's the same book I use. My friend (Prophecy) is borrowing it right now though, since he's working with professional producers/sound-engineers. It seems to me like a great book.

Can someone compare the Sony MDR7506 with the Sony MDRV700's (assuming they're priced the same)? It seems to me like the MDRV700's have a better frequency range than any other headphones available (but I'm sure there are more important things). I want to use the headphones for monitoring/mixing (balanced mastering that will sound good on any setup). I also want to use the headphones for recording, so I need them to be as sound-tight as possible so no sound bleeds through. If there are better headphones for recording what are they? I will probably get monitor speakers in place of headphones anyway, so the more comfortable, closed sound headphones are preferable to high sound quality. Also, cheaper is better (but willing to pay extra if it's worth it).

Look for Sam Ash music also. I buy all my music related crap there (although I'm 3000 miles from the East Coast).

I first heard this song on vgmix in Summer 2004. That was the summer when I didn't have air conditioning in my apartment, and I lived in Las Vegas (I'm still in the same apartment, but got a new A/C eventually). Anyway, I live in Las Vegas where it gets up to 115 degrees during July. I would never have been able to get through the summer if it hadn't been for Prophecy. That song seemed to cool off my apartment whenever it played. This is still one of my favorite songs from Prophecy. He needs to submit something else for this site; I'm waiting for "Soul Rust" and "Back to the Place that I Once Knew" (I think you can get one of them on www.prophetikmusic.com along with lots of other good songs).

Not big enough, just got mine (XL) a couple days ago (secondhand, but still new). I'm 6'1, 225 pounds, with a 36" waist, 32" length and it's pretty snug (the bottom is maybe an inch or two below the beltline). I was expecting it to be larger. Definitely go at least 1 size up from what you would normally get. For the hoodie, go for the large. For the shirt, you might be able to get by with a medium, although don't take my word for it (I can't remember what the shirt size was that I bought, but it was a pretty big shirt). If you're over 6', you're going to need the XL hoodie (yes, even with a 32" waist).

I'm even more impressed with this song after bLiNd showed me the original Cubase source file. ridiculous

You're saying then that you've heard 99% of the genre then, so you can say that this sounds like everything else? Thank you for letting us know how much of a musically deaf person you are, and demonstrating your unmeasurable amount of ignorance. Last I heard Paul Oakenfold did not sound like 99% of other trance artists; that's why he's world famous. Also, bLiNd's particular style does not sound like Oakenfold, but it's still a unique enough style to set him apart from other artists, especially in a song like this one. I doubt if you (MaGi_TekK) will ever read this, but if you do, please don't clutter this forum or this website anymore with any more comments demonstrating your lack of intelligence and musical taste. Thank You

I just listened to this on vgmix.com today (and put a little review there also). Amazing song, Jordan. Keep up the good work.

I just might do it! Thanks for the idea. Maybe I'll write complete lyrics also......maybe meh, I'll just try to make a complete song without ruining what I have (and hopefully have fun also).

Just a few comments, this is probably one of my favorite RPG's ever (next to FF4). Also, I was one of the first people to get a mix posted of this game on the site (and still classic). I remember I completed it in like, 5 days over Spring break. I hope this project doesn't take a whole year, hehe. I was disappointed to see there was not a complete list of songs. The original game has about 70 tracks (far from the short list you have). Arche's theme was one of my favorite themes and did not make it to your list. If I can find free time (apart from working full time over the summer), I would love to remix several tracks from this game, probably several of which are not on your list. Since I am certain some people will not follow through with this project, I recommend more flexibility on your track selection (I don't see why you don't include every track, like some other remix projects are doing). Also, I am sure I will break several of rules of this project. I will most certainly distribute the finished version. You do not own the rights to my music, I am not getting paid for participating, and I believe in free distribution of music. I don't mean to be hostile as a new participant in this project. However, I do believe less strict rules are in order, due to several reasons, for instance, the huge depth of the music of this game, the great variety of music (if you're going to pick specific tracks for the project, you need a specific theme for the project, not just TOP REMIX PROJECT). Also, we remixers, at least most of us, our amateurs. Also, I am sure everyone who has played this game has gotten something different out of it or enjoyed it in a different way. As the game offers something different for everyone, I believe every track that is remixed should offer something different for everyone. (I think blending them together is kind of dumb. It will only end up watering down the individual mixes) Any single remix from this game could take many months to complete if done well. I think August 1 is a reasonable deadline for at least a WIP. I recommened you recruit massive amounts of people before the deadline though. (it seems you've been doing that already though) ~GLL

I have a WIP. It's Zangief's ending theme. Enjoy!! (btw, I just found out about this project a couple days ago from Mr. Riley himself, I work full time, and I got hella sick the other day, and I still managed to pull out a crappy WIP, SO YOU PEOPLE BETTER GET YO STUFF TOGETHA!!) lol http://www.vgmix.com/song_view.php?song_id=4327

whoa, I just now noticed this thread. I made a Super Dodgeball remix over 3 years ago that never got submitted (of Team Shadow, it was posted on the old vgmix.com). It was a rap song that I wrote lyrics to, but I had only started recording it (and some other guys were going to collab on it also). The file is lost and I probably don't have time to enter this project, however. too bad.

When you left click the download button it should take you to a page with three more links. If those links don't work you can right click > save target as (if you're using Internet Explorer). If you're still having trouble I can try and send it to you via instant messanger (I can't send attachments over 1 mb in hotmail). Otherwise I'll have to find some free webspace to upload to and send you a link. I hope you enjoy the remix.

Awesome job on your second OC Remix S|r Nuts! (although it's been more than a year since the last one) Like DJ P mentioned, this song goes far beyond cookie-cutter trance and really stands by itself as a very creative and well produced piece of music. The song starts out with some original percussion and a strong bassline (very unlike most trance songs, which usually start with just a kick and some simple percussion). S|r Nuts gradually introduces more percussion, then starts bringing the bassline out a bit more with some filtering. A short, light, snare roll (different from the usually 16th/32nd snare trance builds though) transitions to the next section at :25. S|r Nuts then introduces some even fuller percussion and some breathy, building pads. During this section is also introduced some other arpeggio-style synths; S|r Nuts really knows how to balance his melodic rhythm section with contrasting timbres and relatively bright sounds. This section continues to build to a break at 1:18, with a smooth transition that includes a very interesting pitch-bended synth effect. Although most of the rhythm cuts out, the song continues to be very interesting during this section. "Sonic" is spoken in a kind of ethereal tone by Mae, followed by "Lightspeed" (in a slightly more assertive tone) a few measures later. The break continues at 1:31, with another pitch-bend transition (and single, delayed kick drum), with the remaining percussion cut out. All that remains playing for the next few seconds are S|r Nuts' very rich atmospheric pads (you can't really appreciate them until this point of the song). At 1:44 (transitioned by a very rich, balanced reverse-cymbol sound effect), the pads give way a little to let some melodic percussion back in, but also a filtered introduction of a very strong lead playing a different melody (yet complimenting all the melodies/themes up to this point). The song continues to build to a new transition (the same pitch-bend effect, yet shifting up and longer then the previous ones; this time, however, the pitch-effect plays by itself, in addition to a for a few cymbol crashes, so the song creates a lot of anticipation and energy to lead into the next part). The next section at 2:13 of the song takes off the with new lead melody backed up by loads of percussion and melodic/arpeggiated backing. A snare roll leads into a new section at 2:39 where the melody cuts out to allow emphasis on the bass and percussion. Some subtle dirty wind effects are used during this part to keep the atmosphere of the song moving along. At 2:45 begins a transition consisting of 16th high hats (followed by snare drum) that leads into yet another, unique section. At 2:52, some pads and bass are carrying an entirely new chord progression (that still goes with the original song, however). In addition, he introduces a strong, distorted, arpeggiated, TB-303 line that creates an intense mood. At 3:05, his thick, heavy lead gradually filters back in, playing a new submelody (kind of a variation of one of the song's melodies, a weaker sort of melody that starts to break the song down). The 303 line cuts out around 3:32 (following a very subtle snare roll transition). At 3:38, some percussion cuts out to a transition to a further breakdown of the song at 3:44 (along with a new pitch-bend effect for the transition). A new 303-ish melody filters in at this point, with even more of the percussion dropping out, the melody filtering back out; this section involves some creatively placed cymbol crashes also, leading into a kick build/roll that finishes the song (ending with a delayed kick). This review may seem very long; however, I put a lot of emphasis on the little parts of a song that determine whether I think it is good. Transitions are VERY important to me, as they are what for the most part keeps a song running smoothly. Many of the transitions used by S|r Nuts are far more than the cliche snare roll used by most trance songs. He impliments many other types of percussions during his transitions, although they sometimes include rolling snare drums (however; his snares aren't incredibly loud, and he also manages to sequence them creatively, as well as use them as part of the main-ryhthm section so they balance with the entire song). It should be obvious that S|r Nuts spends LOADS of time mixing and mastering his percussion. I think that the ideas he uses (and carries throughout an entire song) are normally very creative, especially compared to other songs in this genre. I believe that what really sets him apart is the LACK of repetition. Just about every section of the song I mentioned offered something unique, yet complimented the song as a whole. For most people, this is something that isn't easy to do. A song will usually be either overtly repetitive or so random that it doesn't seem to flow together. This song used many contrasting ideas; yet all the ideas were implemented and pieced together very smoothly. The synth work in this song was very impressive. I'm sure he used a few VST's that didn't come with Fruity Loops when he made this. The pads were very rich, the bass sounded thick, yet balanced with the other synths; his arpeggios contrasted each other and had nice tone/timbre; the lead could have been slightly better, but it was still very thick and good enough to stand on its own. The individual pieces of this song may not seem that great or awesome compared to other stuff on this site, but on the whole, this song is amazing. I am amazed at how far S|r Nuts has gone since that day (I think it was over a year ago) I spent about 2 hours teaching him the basics of music theory. His ear seemed undeveloped, and he had very little idea about how to put different notes together. Today, I am impressed about the skill he has creating contrasting, complimenting melodies and harmonies and putting them together. It is obvious that he spends a lot of dedicated time listening to professional trance artists and creating stuff on his own that maybe will one day contribute to the growth of the genre. S|r Nuts, you get mad props for this song. Stuff of Legends man (9.5/10)

Thats a lie! this song needs work in alot of aspects, and is NOT very well done in all aspects as you said. I mean, he might have grasped the techno factor, but considering how much techno and trance I have listened to, take it from me that this is by far not a very good/well done song. I think I have to agree with FF Music DJ this time. The song never really came out quite how I liked it. I don't have a lot of money for expensive gigasamples (or hiring a live orchestra ), so I chose the best free soundfonts I could find on the internet. The rain I used (which I was pretty impressed with the sample, btw) because the original song was first played (in the game) during an intense thunderstorm. Maybe I could have had a more intense orchestral section and some layered wind samples, but the arrangement I came up with I was quite satisfied with. As to the trance section, I feel it could have been much better done AND better mastered. I knew little to nothing about professional mastering when I made this song about 11 months ago. As to comparing this with other trance: I find a lot of trance to be far more boring, repetitive, and unoriginal than the type of music I like to arrange, although the mastering is usually much better. Hopefully, I may do a reconstructed/remastered version of this song in the future to really capture the mood I originally intended for the song (something sort of emotionally shattering to portray the feelings of the hero during that scene in the game). Thank you everyone for the reviews and criticism. I found it very flattering and helpful.

That's funny Vigilante, I don't seem to see any "judge attacks" going on here. Who is "GL", anyway? It just seems to me like the song is very hard to appreciate. I've heard minimalist/ambient songs that I've enjoyed much more than this. If you ask me, CotMM could probably have spent more time developing this. I enjoyed his Maridia song about 100 times as much. This just doesn't meet up to my expectations of him. I would not recommend this song to anyone, ambient fans or not.

ya, it's really dull; I had to force myself to listen after the 4 minute mark I guess the samples were ok

Hey fucktard (It's 1:30 in the morning and I'm a bit drunk, so don't take it personally), turn down the kick plz, it's annoying. You're drowning out the synths because the kick is so loud. I don't think it's the alcohol, I'm getting a headache from this. seriously, if I wasn't so distracted by the kick, I'd probably right a good review. It sounds decent enough when it drops out. The vocals aren't that bad, but I think they sound a bit off timing and a bit out of place. Hard trance doesn't even turn the kick up that loud though (and I listen to DI radio), seriously. It sounds like you're using good countermelody/arpeggiated synths, but I can barely hear them. Everything else is ok I guess. I guess the concept is ok, but I'm having a hard time focusing on anything at all. bleh. ok, I'm going to try to avoid mentioning the kick again and review the rest of the song (in no particular order). The ending is average. It works for the song I guess, but there is no real transition to it and nothing really happens besides taking out the melody and dropping the song. Actually, the song seems to end exactly how it starts, nothing original at all about it. The vocals coming in is the first interesting thing. It might be nicer if they came out more though, louder, and with some accompanyment, with pads or something. The new synth at like 1:15 or so when the drums cut out it pretty cool, along with the build that starts shortly after. When that kick comes in at 1:38, something else to fill that transition would have been handy (like cymbols or reversed/filtered synth effects). The concept wasn't bad, but it didn't work at all because the balance was so terrible. At 3:02, your stereotypical trance lead comes in with no transition whatsoever, not good. Don't get me wrong, some of your transitions weren't bad (although they were pretty much the same ones used over and over). much of the song seemed to sound pretty empty, probably because of bad transitions, lack of atmosphere, etc. I hope you keep most of this crap I wrote in mind on your next song. This seems to be quite a different style from your other songs. I hope you keep up your originality (although you may want to look into using different more atmospheric leads and break out of a rut. I've been into some major experimentation lately with different songs). Don't mean to humiliate or discourage you too bad. Just wasn't as good as I expected. Keep up the good work, Haroon.