Patrick Burns

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About Patrick Burns

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  1. Nice. Just the right amount of re-harmonizing to me. 1:44 Reelin' in the Years?
  2. Patrick Burns

    April Fool's Gold

    Proves there was no collusion
  3. Patrick Burns

    Random life advice?

    (Working in a call center was actually one of my last jobs before going back to lots of school for a big career change. And scheduling control will actually be one of the benefits of the change.) It's a hard question to answer because, if you're starting a new path, there are so many job paths to attempt. There are certainly other jobs besides firefighting that may have better schedules than the one you have, so you have to ask yourself "why firefighting?" For example, I have an acquaintance who was finishing medical school and chose to do emergency medicine because of the schedule. They can work ridiculous shifts but then have loads of time off, depending on how you and the hospital want to set it up. (We're talking every other week off.) He was right about the schedule, but he underestimated how much the job would drain his soul. Now he apparently regrets choosing it, wishing he had just done family medicine. My point is, if scheduling is what you're going for, and if you're willing to do some extra training such as firefighter school, I have to think that there are many options besides firefighting open to you. Firefighting might be the right choice. But I don't think scheduling is the single reason that should guide you towards it, especially if you're hesitant about the other aspects of the job. Reading between the lines, though, maybe there are other reasons firefighting interests you right now? You have some proximity to it right now as a dispatcher, it probably wouldn't require too many years of your life to switch into it, you probably wouldn't have to move cities, it's a very respectable vocation, it doesn't have a lot of employment uncertainty (as far as I know)... many of those things may feel emotionally desirable to you right now as a father/boyfriend. So, it might be the right choice for some of those reasons, but make sure it's for the right long term reasons. My general feeling is that, if you are willing to put in the resources to switch careers and you're young enough to make the investment worth it, make it a damn good switch.
  4. Patrick Burns

    4. submitted Garoh remix/cover (Golden Sun)

    Thanks. Sometimes, especially for beginners, its easy to get fascinated with your power as an arranger to drastically alter a song. With that song and others I tried to expand more than transform. The sky is still the limit, but you really do want that seed of recognizability, which is why the community exists to begin with. But it takes good sensibilities to pull off that expansion subtly, without the end product sounding like a stitched together frankenstein. (Looking back, I think that Happy Towns mix qualifies as frankenstein with good makeup.) That's actually one of the great things about your arrangement. The newer material feels like it belongs.
  5. Patrick Burns

    Video Game Addiction

    I think people have raised some good points about what kind of addiction video games can be. While games be just as addicting as many substances (they are both enabled by similar physiological concepts), they're also different. For many substances, the underlying process can be a single overwhelming mechanism, whereas for games there's a much broader array of smaller gratifications that add together to create their powerful effect. Again, I think that just makes games different, not lower or higher on the totem pole. For example, for something like opioid addiction, if the person is unlucky and has the perfect physiology to get addicted, a small regimen of opioids can immediately create huge cravings and lead to addiction. Some addicts will tell you that it was like a light switch being turned on, and they knew immediately. Personally, I have had opioids for surgery and didn't feel that way, but I have felt that way about other drugs. And it was like a light switch. And in that moment I understood addiction. In my experience, video games require a larger constellation of smaller cues. BUT, when all those cues do hit, I think video games can be an especially insidious addiction, precisely because it pulls together all those different parts of you. For something like opioids, you can be hopelessly addicted but still be able to think of the addiction as only a part of who you are, like it's still something outside you. For a video game addiction it's almost like "this is part of who I am." They can provide broad fulfillment and meaning that you don't feel in other parts of life. I can remember thinking at one point when I was a teenager that life would never feel as meaningful as some of the games I played. (To further flesh out that picture, something like alcoholism is somewhere in between, because it's not just a substance but also a lifestyle that weaves through many aspects of social life. It's both the chemical dependency and part of your identity and history.) The fact that game addiction relies more on a constellation of cues is important, I think. And it's relevant to the story of the guy in the video, and many other people, who find that young adulthood is an especially vulnerable time for game addiction (and most addictions, for that matter). Young adults are at a time in their lives where they're faced with slowly building that constellation of meaning in their life: a sense of accomplishment, work, education, place, intimacy, friends. If you don't have a critical mass of those things, certain kinds of games can step in and provide little substitutes. And for some people that can grow into something uncontrollable. I think I've been fortunate enough to build a passable constellation of those things in my 'real' life. So whereas my teenage self couldn't imagine a future where I wasn't playing a lot of games, my almost-30-year-old-self now feels self-conscious when playing games. Not ashamed, per se. But as if the rest of my life is passing me by. I still play games once every few months, but I can only stand games that I can finish in a couple afternoons or evenings. It's been on my wishlist to get around to Breath of the Wild, but every time I had the opportunity recently, I chose to do something else. There was just some other thing outside of games I was more interested in. I don't play League, but someone I know does. He's like a Diamond II ranking, or something supposedly ridiculous which I don't understand. But he's almost my age and still lives with his parents. He got a college degree but he's never had a job. His family immigrated from Korea when he was maybe 13, so culturally his family is very private, and I'm not sure they know how to handle his situation. He's been stalling for years, retaking the same grad school admission test about four times, claiming to be studying for it each time. Really nice guy, but a sad situation. His parents have sunk tens of thousands of dollars into supporting him and sending him to test prep programs. His last allowable attempt at the test is next month, and I'm interested to see how his family reacts. Most families would have kicked him out years ago, like the guy in the video.
  6. Patrick Burns

    4. submitted Garoh remix/cover (Golden Sun)

    Very very nice arrangement and performance. Nit picks: I would make the the cymbals at the end a bit quieter and set a little farther back in the mix with slightly more reverb. They sorta steal the attention. The final chord feels a little brusque. Of the many ways you could tame it: maybe take out the percussion hit on the chord, and let the lower strings (along with the major third of the chord) fade into the chord more slowly, after a moment of letting the wind breath on its own
  7. Patrick Burns

    I need to know if this is normal...

    DarkEco, my path and my experience with Impostor Syndrome was very similar to yours. So I'm inevitably going to write too much here. Unfortunately my path ended with me switching to another field besides music. But there's some optimism to be found in your situation. In summary: you are right to feel disconnected, yes that's mostly normal, and there are ways to get better. I grew up with classical piano and guitar lessons and studied a ton of theory in high school (I'll touch on music theory at the end). I attended college on a full music scholarship, breezed through music theory, took a ton of composition. My senior project was a portfolio of rescored film scenes (here's part of it), and I graduated with honors. My teachers always said I had a lot of talent and could make it in the industry if I moved out to LA and committed to the grind. But I didn't feel secure. And I never pursued that path after graduation. I felt exactly like you: that the music I had created was with 'tricks of my sleeve,' extensive trial and error, and/or imitation. Both before and after graduation I invested a lot of effort into trying to "fix" my musical ear and tap into some greater talent, something more inspired, something more deliberate, but I never made much progress at the time. Now it's six years after graduation, and music has become a hobby instead of a professional aspiration. So, with some distance between me and this same doubt you're experiencing, and with the pressure gone of having to make a living from music, here are some conclusions I've come to. First, I agree with the seed of your concern: that writing music can feel totally inconsistent and feel detached from any intention or emotion. I also agree that there are some talented folks who seem to not have that problem, folks who seem to speak music like its their first language---folks who don't know half as much theory as I do. That divide, between where you are and where you think you should be, is understandable. Even more understandable in light of the fact that many non-musician friends and family members may look at you proudly and assume that you have some supernatural abilities, which we do not. Ok, so that's the bad news. The rest of this post is good news. My experience is that most composers are the same way. It doesn't seem that way because it takes a lot of honesty to admit that "I just keep working until it sounds good" or "I just remember some other pieces or tricks that accomplish what I want here." Not to mention that saying those things sorta spoils the mystique of your brand as an artist. But in my experience talking to people, learning about composers, listening to interviews, etc., most composers have a somewhat uninspiring process, though they won't say it outright. If you get familiar enough with the work of any single composer, you'll start to pick up on some of the same solutions they have to the same musical scenarios. Now, their bag of tricks may be bigger and more subtle than yours or mine, but it's still a bag of tricks. As one example, I grew up idolizing John Williams as a creative genius (and I still do), but the more I studied him, and the more I listened to him describe his process, the more I realized how directly he begins with pre-existing works and uses them as a diving board. For example, Parade of the Ewoks comes straight out of Love for Three Oranges. And listen to the first three minutes Bartok's Concerto for Orchestra and tell me you're not on Tatooine. That brass at 2:15. John Williams obviously starts with some known quantities and then begins vamping on them. And then, don't forget, he hands them off to a professional orchestrator who makes them sound even better. The truth is that everyone writes music with a mix of inspiration, craft, and trial/error. I know it sucks that some people seem to have a more gifted ear and a correspondingly higher mix of... emotional intent, if you will. But even those people absolutely rely on craft and even trial & error to get things done. Those who do not learn to subject their nuggets of inspiration to a more dry, uninspired sense of craft and experimentation tend to not be able to break out of writing short tunes. And if they do write longer material, it's usually a collection of shorter ideas smushed together. And to add even more confusion, as an artist your insecurity will probably inflate your estimate of other people's artistic intent and success. If I had sent you the link to my above portfolio with no context, my guess is that you may have made some assumptions about how easily I wrote them. They sound good. I'm very proud of them. But what you don't see are the hours of dumb trial and error, or the source material I may have begun with, the expert musicians who sight read and self-conducted them, or the moments of frustration that eventually led me to quit. So now that I've convinced you that you're normal, how do you get better? Well, again it will always be a mix of inspiration, craft, and trial/error. A -- Trial and error will always be the same battle, but the more experience you have, the more music you get into your ear, then the more kinds of experimentation you'll be open to, the more you'll realize how some crazy shit you thought would never work might actually be perfect, and the more freedom you'll give yourself. You may not feel inspired while doing it, but it will be a problem solving tool for you that gets better and better. B -- Inspiration, the kind where you just hear what you want to write, does exist in various forms for different people. But unfortunately it's a function of some perceptual abilities that develop mostly in childhood, and it's difficult to improve quickly in this area as an adult, for similar reasons to why learning languages is more difficult for adults. Personally, every once and a while I make music in my dreams, and it breaks my heart that making music isn't like that in waking life. (That's a big source of my Impostor Syndrome, because my real life music is an impostor to music I've heard in my dreams.) But you can slowly improve here. It all comes down to your musical ear. I don't necessarily mean academic ear training or transcribing. Those can help and are not inherently bad, but they too easily allow some people (like me) to start playing an overly conceptual game of mix and match rather than focusing on learning the sounds fluently. What you need to do is get comfortable with a polyphonic instrument and just continually try to pick chords/melodies out by ear with no extra assistance. This will do two things to help you be more receptive to inspiration. 1) It will help you get better at holding sounds in your short term memory against the incoming sounds from your instrument. Thus, when the time comes, it helps you protect the little moments of inspiration that may come to you during the compositional process, even if they are brief, rare, and a struggle to materialize. 2) It will force you to develop a more streamlined ear wherein the learned associations begin with sounds and never stop listening. Regardless of how you think through this clumsy process---you may be hearing the sounds and associating them with shapes on the fretboard/keyboard, or maybe even pure muscle memory, or maybe even some simplified theory---as long as you are starting with listening and not instruction. There's a universe of difference between the memories you gain by clumsily picking out a lick on your own versus being shown or reading how to play it. And again it's ok to employ some simplified music theory here to understand what you're hearing, as long as your primary task is listening and finding, as opposed to turning on the analytical mix and match part of your brain, which often allows you to stop listening and turn the exercise into a game of educated guesses. Also, to conclude the inspiration section, I would suggest that every musician sing more. But some people are just too embarrassed to enjoy getting better at singing. C -- This brings me to craft, under which I would place music theory. Music theory is not one thing. It is many things that have their strengths and weaknesses. It's notation. It's orchestration. It's analysis. And there are different kinds of notation, different approaches to orchestration, and different ways to analyze. I agree with AngelCityOutlaw that most composers have picked up some music theory, if merely by virtue of a life lived in music and the inevitability of encountering theory at some point. But I would disagree if anyone suggests that Music Theory Proper is a prerequisite to successful composition or somehow correlates with one's ability. That's not my experience, but I might be wrong. What everyone does have, however is some form of craft, which may or may not express itself through the vocabulary of music theory. In the case of our area, DarkEco---the area of making music for visual media---there's a whole galaxy of 'craft' knowledge that can help us begin and continue to write. And you mentioned that in your post, i.e. genre and instrumentation. I know they feel cheap and wholly unlike the inspired process we want it to be. But those two words encompass a lot and paradoxically can be a big source of inspiration. Movie music basically has developed a language of meaning based on the genre and instrumentation of music being heard. For example pizzicato strings below clarinets playing melodies with a bunch of chromatic notes of course convey humor. Brass and marches convey resolve or power, etc. That boring kind of knowledge is part of your craft, and you can keep developing that sense of craft in areas outside of genre and instrumentation. For example: time. Music that quickly follows the action (like in cartoons) conveys a sense of unpredictability, whereas music that establishes it's own rhythm that doesn't follow the onscreen actions highlights a sort of inevitability to whatever is happening on screen, good or bad. That kind of knowledge arises from critical listening to your others in your craft. And we haven't even started talking about Music Theory Proper yet. Planing whole tone chords, a la Debussy, conveys a very distinctive, almost psychological sound. Those idiosyncratic Prokofiev harmonies in Love of Three Oranges conveyed a quirkiness that John Williams utilized for the planet of Endor. And at the end of the day, notes aren't even the most important thing. You can write a ton of beautifully sculpted music with a minimum of note material. If you just get the right instrumentation playing at the right energy levels, it almost doesn't matter what notes they are playing. You can even win an Oscar. And even in that seemingly small area of craft---instrumentation and energy---you can spend a lifetime developing your sense of craft, developing your own ideas and theories as to what should go where when. *** Yes, I wish I could write tunes and melodies like Yasunori Mitsuda or Toby Fox seem to be able to, and I'd like to imagine those songs were written like in a waking dream. Maybe if I had started music earlier, or started with playing by ear sooner, or moved on to classical training and theory later... maybe then I would feel more in control of my original music. And maybe some people possess some powers of skilled inspiration which I will never have. But there's still a lot of fun to be had in music outside of how we imagine it should be. In my experience, most composers are flying mostly blind most of the time. They just start with something that might work, keep trying until it works, and then further refine their ideas about what might work for the next time.
  8. Patrick Burns

    OCR03402 - Chrono Trigger "Yearnings na Gaoithe"

    A friend of mine has a knack for imaginatively describing the vibe of songs, so I played this remix for him and showed him this picture: And this is what he wrote...
  9. Patrick Burns

    Ads on OC ReMix YouTube Channel

    I like the evolution and the enthusiasm... ...but just so things don't get confusing about this "I consent" business, I want to add that the primary consent is choosing [or not choosing] to submit your music under the content policy. Voicing consent in this thread is redundant to that choice and muddies the waters a bit, possibly leading some readers to incorrectly assume that not posting somehow implies non-consent, or that non consenting has any meaning if you still proceed to submit your music under the content policy.
  10. I really like the percussion. So many different 'places' outlined in the tune with their own snare/hat patterns, openness of the hat, etc. For example, the A section of the athletic theme: the lead/bass/hats all tighten a bit while the snare is dropping at half time. Fun times.
  11. Patrick Burns

    Has Anybody Here Quit Playing Video Games?

    Yeah, worthwhile and fulfilling are the right words I guess. Certainly the "achievements" aspect of games rightfully loses its depth as you age. Peeling the achievement flavor away, I guess things like escapism/narrative/fantasy are what still have some meaning for me from time to time. And that shows in the games I chose to play. Though even that has faded. I had a strange thought recently about this recently... related to thinking about dating again. You know how there are people who just don't understand video games or for that matter fantasy genres/media of any kind? I heard Midna's Desperate Hour from Twilight Princess recently and was transported back to some teenage memories of playing Zelda. I thought to myself, even if I never play another game again, I don't think someone can understand me if they don't relate that sort of transportation---or make believe, if you want to be call it like it is. And it's something more than just enjoying fiction, you know? It's late. I'm getting into that weird, late-night writing headspace.
  12. Patrick Burns

    ReMixer JJT on SNL

    The Big Stage!
  13. Patrick Burns

    Has Anybody Here Quit Playing Video Games?

    At the beginning of college, I was really into WoW. But college and my first relationships really sunk my taste for playing games all the time. These days---nine years on---I play maybe two games a year. They're usually the "best" from the previous year or so, and I'll just be consumed with it for maybe a week----like Oblivion or Undertale. My changes in taste are not based on a lack of free time. (I am in graduate school, but I have no kids, am single currently, no pets, no roommates, I don't go out and party, etc.) It's just that I want to spend my time on other things---things that are ... it's hard to describe ... part of a "larger landscape" in my life. I'm trying to continue my 20 year relationship with the guitar, continuing some psychology related research/reading that that I started in undergrad, and trying to finish graduate school in an other field entirely. All those things are long term relationships that have years behind me and decades of landscape open before me. But I value my past with games. Games (and this site) are responsible for much of my relationship with music. Games helped develop a lot of my imagination and identity. But it's a paradox now... I was watching my brother in law play Breath of the Wild recently. I started watching some YouTube videos and scheming of ways to get my hands on the game. But at the end of the day, as big as that game is, it feels small compared to the landscape of the other interests I've been fortunate enough to cultivate. Everything in moderation, I guess.
  14. Nice job. Glad some people still put care and thought into album titles that actually cause us to reflect on stale genre norms and force us to confront the Other inside each of us.
  15. Patrick Burns

    ReMixer JJT on SNL

    nuff said. I was at a workshop put on by one of my favorite guitarists years ago. someone raised their hand and asked, "how do I get noticed?" His response: "get good."