Theory of N

...Mother of N?

I'd have to disagree completely, here. The sphere grid was one of the most fun level-up systems I've experienced in a game. Blitzball consumed countless hours (probably about half of the time spent playing the game) trying to get my team to win the top prizes. One of my favorite "mini-games" in any game. The lack of an explorable world map (and this goes for XII and XIII as well) didn't even register while I was playing any of these games. It makes more sense to me than your giant character running halfway across the world in 30 seconds and I felt more immersed in the game because you literally get to see the ENTIRE world. Not just towns/dungeons/points of interest.

*sigh* I'm in.

These are all reasons not to do this. First off, this is incredibly ambitious for your first game. Six platforms? That's crazy. I assume the game itself is huge as well. Excuse me for being skeptical but I highly doubt this will see the light of day unless you cut some things WAY back. I could very well be wrong and I'd love for you to prove that to me but with my experience in games, it likely won't happen how you think. Second, you and your partner getting paid without sharing any of that profit with the artists putting work into contributing music specifically tailored to your game is really shitty. Even a one time price of $10 per song would show you're at least trying. If you're going to put such little value on your artists, stick with music in the public domain or free music that's already been made.

1) Tell me a bit about your company. I can't find it anywhere. All I'm seeing is St. James Software, which I'm assuming isn't you because they don't delve into games. 2) Have you made a game before? 3) Is anyone on this project getting paid and why/why not? 4) Why do you need this?

1) Bayonetta 2) Travis Touchdown 3) Isaac

Yes. I love parkour. I stopped a few years ago because school got a bit too hectic but I REALLY want to get back into it. I kind of need to get into shape first though...

No, it's not necessary. You can get a degree in music anything but the quality of your work is more important than your qualifications. Granted, if it's something you're really wanting to do, I would definitely strive for a formal education in music. The knowledge you receive is invaluable and given enough effort, increases the quality of your work quite a bit. Also the piece of paper you get from finishing a degree will help you earn some extra money from your real job that you'll no doubt have "on the side" while you try to make a living writing music.

Of course. But personally (and I know quite a few people here that feel the same way), if a soundtrack isn't that memorable to me, I have less interest in remixing it or putting in the effort to find a track I'd like to remix.

I'd second this sentiment. The game was awesome and the soundtrack did a killer job of setting the mood and it fit with the game really well but...none of it was all that memorable to me. I literally can't remember a single track.

Well first, there's an eighth at the end as opposed to a quarter so if you WERE to put the entire thing in 4, it would come out to 14.5/4. But On top of that, phrasing and accented beats are pretty important when determining time. If you have two measures of 7/8, you can't call it one measure of 7/4 where the last half is off the beat.

4/4, 3/4, 4/4, 7/8. Though it doesn't sound synched properly.

Custer's Revenge?

I beat FFXII in 99:99:99

This is officially a "Happy Birthday Prophecy!" thread. Happy Birthday Prophecy!

About time to clean my camera lens, I think.

Yeah, I'd probably be too ashamed of my work habits to stream live.

Looking forward to that "face erasure".

That's generally the case whether you write linearly or not. Obviously, if you don't know what to do next, the mix is going nowhere. I mentioned this in a different thread but once you realize your creativity is literally endless, your music can get taken into directions you never thought possible and can prevent holdups if you just write anything. If you get stuck while writing linearly, don't be afraid to change it drastically and modify it later to fit better. It can make for a rather unique compositional style. It doesn't matter WHAT you write as long as you write. You can't expect everything to be a masterpiece but the more you write, the better chance you have of what you're writing to BE a masterpiece.

I usually get a groove or motif established in no particular place in the song and write from start to finish. Probably not the most effective way to write but it's done alright for me.

That's interesting. I don't really see much benefit to writing the melody before the rest of the texture in pretty much any situation. I guess it COULD help with the counterpoint but honestly, that seems way too subjective to me to be considered advice. Personally, I like to get a groove down and then improvise over it in my original stuff a lot of the time and I'm sure I'm not alone in that. It's all about how you work. YES YES YES YES YES YES YES YES YES YES YES YES YES YES YES YES A million times YES

Oh damn, he couldn't even finish the sentence. It must be bad.

Well, seeing as Cool, Cool Mountain is basically or remix of Slider (or vice versa), it's technically already in there.

I bless the RAAAAAAAAAAAAAAAAAAAAAAAINS DOWN IN AAAAAAAAAAAAAFRICAAAAAAAAAAA! This is really nice, dude. I'm loving the vibe here. I think my biggest crit is from an arrangemental/compositional standpoint. There's a lot of layering and whatnot so things are happening...but the majority of the track is the same chord progression and it gets pretty stagnant. Unfortunately, the source doesn't really have much more to it so it makes sense why that is. 2:35 is nice and fresh but it's soooooo far into the tune. Other than that, 0:30 feels texturally thin. It's like all the neat overtone-y things you had going on went unison right there and it feels like something dropped out. Once the perc comes in though, there's enough going on to overlook it. All that aside, you said this was mostly geared toward sound and I think you pretty much nailed that. So good job there!