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This actually sounds quite awesome. I can't wait to hear the first WIPs.

Personally, I think the choir is a bit too overwhelming. I'm listening through my headphones, and it actually makes me wince, especially in my left ear.

Pretty much, yeah.

Oh crap. I'm djwang88 but logged into the wrong account.

My buddies play with Ken. Freaking awesome. You live near LA? Ken is amazing with Marth, sure, especially coming out of nowhere and winning a tournament a few years back, but I'm not very fond of how he beat Bombsoldier in that Japanese tourney, with the chain throwing against Falco. I won't say it's cheap, but it's not very exciting to watch, and it's a bit of a take-every-advantage-you've-got tactic. I like Azen better. With his play-every-character philosophy. Actually, Isai/Malva. With his insane SSB64 skills.

If so, they'll probably be on the SSBM DC++ hub.

Whoa, that's crazy. I know a lot of those people, but haven't talked to them in a while after fading out from the SSB community several months ago. Hmm, Cort and Saver, Unknownforce. Oh, and PC Chris, definitely. And some of the other names ring a bell, too. Edit: Jiggs's Wall of Pain doesn't work terribly well on Marth, hm? What with his giant range and all. At least you can DI out of anything he tries to draw you into, like short hopped double fairs or nairs strung together. But offensively, it's hard to get through his quick aerials. I like throwing these terms around. It brings back good memories.

You blame spelling errors on a lack of sleep? That's odd.

Oh. I figured a minor 7th is still called a leading tone. Then again, it doesn't makes sense...it really doesn't lead anywhere.

Harmonic minor raises the leading tone, and melodic minor raises the 6th and 7th. [edit: gah, forgot to enable bbcode]

You are my savior.

Well, first of all, I don't think you'd technically be playing in a minor if you're using blues and Arabian scales. From what I gather, though, blues and Arabian sound quite a bit different, and cover a pretty different (with some overlap, naturally) set of pitches, so the tone of the song would likely change with a switch in scales. I'll echo the words of the people above me and say it's really up to you. Experiment with it and see if you like it. If you do, then go for it.

Those are pretty much my school's choir director's biggest gripes. I don't sing though, I'm the choir pianist. Heh. He always talks about having enough air (to keep yourself from going flat) and opening your mouth wide enough (and your throat, as if you're yawning). But perhaps that's just choral techniques, I really have no idea.

Composition: Sibelius (school) GarageBand keyboard (school) pencil/paper Production: FL Studio (friend) Audacity Er. Yeah.

Suppose you had imported a MIDI into FL and you've applied soundfonts, messed with panning, volume, note velocities, etc, and now you've changed the MIDI. Is it possible to import a new version of a MIDI track and keep the settings of the old one? That is, channel panning/volume (which change a lot throughout the song), note velocities, and things? I suppose you could always directly edit with the piano roll, but that would take much longer, so I'm wondering if there's a shorter way.

I absolutely love Darkesword's ability to smoothly introduce instruments to a song. Mysterious and haunting intro (loving the tubular bells). Then the piano comes in, and I am instantly addicted to 4/4 Manoria Cathedral. At 0:50, the break builds just the right amount of tension. Just enough so that it's nearly unbearable, which makes the following "aah" from the choir ever more so...indescribably intense. Flutey arpeggios that begin to play above the piano get passed back and forth between the two ears, and that's my favorite bit from this song. They almost make me want to sob in utter bliss. The last one that leaves the song hanging again leads into Wind Scene, which I really don't have much to talk about until 1:48, when the piano comes in with a high echoing rendition of Manoria Cathedral that bounces between the two ears. Another moment of tension, then everything comes together for a climax. Wonderful guitar melody that counters the piano. More choir and flute love. The end is bittersweet and leaves me begging for more, but I think the end comes at the right time. A longer song might mean repetitive material, and that's what playing songs again is for. Brilliant, this.