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  • Real Name
    Adam Prack
  • Location
    Columbia, SC, USA
  • Occupation


Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
  • Composition & Production Skills
    Arrangement & Orchestration

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C7's Achievements


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  1. Hey everyone, One or two of you may remember me from my Majora's Mask remix, Healing Majora (http://ocremix.org/remix/OCR02315) and a few other submissions to which I've contributed trumpet recordings. And that Wily competition. And some other stuff. I've noticeably NOT posted a remix in a long time (I'm sitting on a couple, I really should submit them), largely because I've been working on breaking into game development. I've been making games for a good number of years, but my most serious and important project to date, Courier, is making some strong headway and is up on Kickstarter seeking funding. And Greenlight. Courier on Kickstarter! Courier on Greenlight! Courier is an RPG made with Construct 2 that lets you explore and interact with a large fantasy world. But you're not the sword-swinging hero, and you're not the mystic sorcerer. You're the peaceful Courier, making deliveries and helping all in the land. You'll traverse many towns, locales, landscapes, dungeons, caves, and much more delivering items for the characters in the game world. Along the way, you'll help them in their daily lives, influence their decisions, and unravel a plot to bind the Kingdom of Veilend and cripple its outreach. This all takes place in a dynamic, ever-changing, ever-expanding world that always has new things to discover and new places to go. You'll deliver items, visit places around the world, solve environmental puzzles, traverse dungeons, and unlock the secrets of a sinister plot hidden within. Your decisions, along with the passing of time, will change the world and what its inhabitants do. Secrets hidden in dungeons will open new paths in the outside world, solving environmental puzzles can gain you access to whole new areas, and the main quest deliveries will help you delve deeper into a secret evil binding the Kingdom. By the way, you can play as either a male or a female. Click for full size After a brief introduction, you start the game with your first assignment of delivering a package to the mayor of a forest town, but the entrance to the town is blocked off by a mysterious rock slide soon after you arrive. Once it is cleared and you can get out to explore the rest of the world, you'll discover many similar events have happened all around. Bridges have been knocked out, town entrances have been blocked, lifts have been shut down, and travel routes have been disrupted. Someone or something wants to hold back communication throughout the Kingdom, and it can't be for a good reason. Uncovering these paths lets you gain access to more deliveries to build up your career, and open communication can slowly be restored. But there still must be a sinister plot underlying these events, and that is your task to uncover. Click for full size Courier features a large world, nice visuals, and a fully interactive and high-quality soundtrack. It will release via Node-webkit on Windows, Mac, and Linux. I'm not just making the music for the game; I've made everything in it.
  2. Oh, wow! This was a fun solo to do! It's been so long, I forgot this was in the queue! Great stuff, Matt!
  3. Yay! Some more Majora love! I really really like this mix a lot. There are some fantastic ideas, the beats are well-used, and there's a good sense of progression. The slow intro was great and led into the main melody in a really nice way. My only two issues would be it falls a little into repetitious territory, and has a few odd tonal choices/transitions in a couple places. Otherwise, very nice work and a great start for a first-time poster! Heck yeah to more Majora, and great mix!
  4. 2: Maybe some day I can get the time to help you with that. 3: Bahaha don't do that! I'll be lonely on trumpet by myself!
  5. I look forward to seeing some arrangements come in! I think it'll be a ton of fun to play, and it should be neat playing beside a good Sir.
  6. Woo glad to be on, and looking forward to imaginary playing alongside Sir Jordanious
  7. Hey, this sounds like it could be fun. Put me down for trumpet. You may've heard me in the last few mega man compos and the recent sonic one, but a good amount of me playing is in amongst my .Specific trumpet parts 0:35 (high stuff) - 1:11 3:04 - 3:41 (a little technical) 3:53 bond! and high notes 4:55 other As far as range, I'm fine with a written G or Ab (concert F or Gb/F#) an octave above the staff. Past that, eh. Shakes are fine, doits are fine, slides are fine, flutter and growl are fine, quick tonguing (double/triple) is fine. Low notes are fine, too, by the way--an oft-ignored range for trumpet (not nearly as much fun!).
  8. The intro is gorgeous. The cut-off switch at about :50 to the meat of it all is alright, but I would've preferred some sort of lead-in or a continuation of the smooth intro (overlap) so it doesn't feel like the intro isn't adding anything. Like the intro builds up nicely, but doesn't feel relevant to the rest. I can't stand synth lead at 1:46 (the plucked one)... mostly because it seems so low-quality next to how slick everything else is. The square lead after that is borderline. I like mixing synth styles, but these seem out of place or could stand to have some effects/tweaking done to make them a bit glossier like everything else. At 3:00 the smooth string pad from the intro comes in briefly, but I think it makes you realize how long it's been since the intro before this idea really came back. Maybe use these differing textures in more of a contrapuntal style. Ie, have them come in and out in the background to tie things together throughout. The 3:45ish synth is well-written and has a great part. But it has the same issue (to a lesser degree) that the earlier leads had. It sounds too simple and jarring next to everything else. Maybe some subtle effects/processing, or go the glitchy route to make it not as constant and piercing. The arpeggiating is a nice break, but why not it switch or combine with other leads/stuff at some point? Just give it some variety, I guess. That chord at 5:20. It is exactly where, I guess, it should naturally go. And that makes it seem, to be honest, cheesy. Try to find another way to resolve all of that--something more interesting. A sus4, major 7th, a major flat-six chord, re-orchestrate it, throw the third in the bass. Something to make it a little less vanilla since everything else is so much more interesting throughout. The outtro is great as-is, and really does it more interestingly than the fake-ending did at 5:20. The suspension/anticipation at 5:42 is exactly what 5:20 needed. Overall, a killer track and one of the best I've heard from you. Just some nitpicks with the leads not meshing so well, I'd like some more continuity in your textures/combinations of them, and that cheesy chord at 5:20. Fantastic work otherwise!
  9. I did a short film a year or two ago and was more surprised at how very little goes a long way. I always knew that to be true, but doing it first-hand was more surprising. For a vg soundtrack, I would typically have a stronger pulse, more instrumentation, etc. and a lot of film settings just don't lend themselves to that. Don't get me wrong, there are plenty of big moments and the music had better stand up to it, but stripping the music down to its bare essentials (and still maintaining the sound quality you desire) was often times what worked best. Also, in most instances, I feel a small motif is far more useful and versatile than a full-on melody. There are times for melodies and themes--just not many of them.
  10. This game got me through a job one summer. I don't play it any more, but that desk job absolutely needed minesweeper.
  11. I can kind of see where the issue is coming in with that mid section sounding too long. It sounds great, but at 2:20 you have a big interruption moment--and we're led to expect something new there. It instead takes us back a few notches and THEN goes to the trumpet solo. Those few measures between 2:20 and the solo are the culprit, I believe. The continuation and build prior to that is fine, but it feels like a step back without progress in the piece. Those either need varied more or added to to make them feel more significant, I think.
  12. The robotic piano solo right before the trumpet entrance is my only real critique. It's a minor thing so it may not even be a big issue, but it sounds a little weak next to everything else--particularly with live instruments giving a more organic performance.
  13. Woohoo, got the voting done. Good luck to everyone finishing their tracks!
  14. Hello C7, my name is MangaMan and I'm the director of the Majora's Mask Musical album project: Tears of the Moon. I loved your composition work on Healing Majora and I've been trying to find a good composer for a while now. Would you be interested in join Tears of the Moon?


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