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About Radiowar

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    Guybrush Threepwood (+800)

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    hit send
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  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
  • Composition & Production Skills
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Electric Bass

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  1. posting this just for closure, i'm pretty happy with the arrangement at this point. now to properly mix this monstrosity
  2. this is starting to feel nearly completed. ironed out some of the details in the piano, string, and drum parts. thinking of ways of making the A section more dynamic through fx modulation. the B section is a little muddy still. is there anything i'm missing here?
  3. thanks for checking it out update: i think this version represents more or less the completed form (some stuff is gonna need to happen during the middle and end parts). also some of the sounds and parameters need to be tweaked (and properly mixed ofc), but i think the texture is starting to sound a bit more balanced.
  4. been a while since i've posted here i'm currently working on a remix of a tune from Uncharted 4. i'm trying out a different approach to form that slowly builds tension through layering parts and hinting at later chord progressions. i'm taking a lot of inspiration here from Mogwai and Yotto. for reference, i'm basing my arrangement off the tune as it appears on the OST and in-game. at the moment i'd say i have maybe two-thirds of the form sketched out. some of the parts (like the drums) and other instrumentation are placeholders for the time being. in any case, feedback is appreciated, thanks for listening (updated 2/1)
  5. lovely!! have always wanted to hear this tune done in that twangy style.
  6. no guys...hes saying its misspelled on the website and its true anyway...i dig this mix ! took a fun tune and made it SUPER FUn
  7. isn't nothing, right? i mean you see drought and drizzle activate when they appear so if nothing else its a preview of far more dynamic battle sequences and environments.
  8. yeah i am curious about that as well. the introduction of mega evolutions alone should be enough to influence the story in some way. if nothing else there should be a new set of megas. they already did mega blaziken so there will probably (?) be mega swampert and mega sceptile...which would be nice because i missed out on blazikenite D:
  9. this is a pretty classic from one of the older sda marathons. back when jiano still played and OoT Any % was more than 18 mins long
  10. YAWN let me kno when you guys get this site in the 21st century with a properly functioning REMIXINATOR. my idea for a 9 minute epic crossover prog rock/dubstep/orchestral suite remix of the laser sound effect from space invaders has been stuck in my brain queue since 2006 and i blame it entirely on the permanent state of bureaucratic logjam around here
  11. all improvisation requires is an understanding of harmony and motive which is equally important in performing music which is entirely notated. (eg. fugues) it can also be useful to think of scales not as predetermined objects but as a way to define the collection of pitches being used at any given time (eg. the diatonic collection, the pentatonic collection, etc.). an awareness of pitch and interval relationships at the abstract level can help you come up with both harmonic variety and a greater degree of coherence.
  12. you keep saying this and i wonder what you mean by that. are you including just general notation practice in your definition of "jazz theory"? because realistically classical theory shouldnt be any less applicable to performance/interpretation than jazz theory.
  13. oh yeah absolutely. i have zero background in jazz theory though so i could not even attempt to speak to that. i was just responding to what i thought was a point about horizontal vs. vertical approaches to interpretation. i think that there are times when it makes sense to understand sonorities instantaneously, but it's also important to consider the bigger picture. otherwise we end up with an approach to music that is just stacking lego blocks on top of each other.
  14. i think youre misinterpreting my point. i was not saying that calling a chord a "sus4" or "add9" is incorrect because it's unnecessary, but that it's actually technically an inaccurate use of the term. unless your suspended tone is actually prepared as a suspension, it is most likely some form of accented non-chord tone. the point being that harmonic labels are only useful insofar as they correctly identify function, not simply the literal pitch content of a given sonority.
  15. There's a technical argument for what AngelCityOutlaw is saying here as well. Harmonies with suspensions are not "chords" but a consequence of voice leading. Which is to say, in order to have an Asus4, that non-chord tone must be established as a chord tone and "suspended" from the preceding chord. Aside from being "needlessly complicated," chord symbols/figured bass analysis generally wants to ascribe function to a given harmony, and if the aspects of harmony are not functional you're better off describing them as ancillary tones. The tonic/submediant relationship i think ectogemia was describing is a kind of chromatic mediant relationship, something you find a lot in Debussy (whose harmonic language clearly influenced a lot of jrpg composers), though not typically functioning as tonicization, but tonic extension.