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About C7

  • Rank
    Dan Hibiki (+75)

Profile Information

  • Location
    Columbia, SC, USA

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Artist Settings

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


  • Real Name
    Adam Prack
  • Occupation

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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 seeki
  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 r
  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 ma
  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 m
  10. C7


    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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