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Solaphar's Achievements


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  1. If you don't want to wait for that though, maybe if you also request a genre (or genres), then it'll help inspire a potential remixer to fulfill your request in that genre.
  2. Seems like you just took this mix and amplified for some clipping? You said you changed stuff around, but I'm not hearing any changes. Your "remix" seems to be a straight rip with boosted volume and reverb. That's not a remix. Try again from scratch and without using other people's mixes. It's okay to use really short samples of something else (like 0.5-1 second) if done creatively and minimally, and if you add at least 90% of your own stuff, but you haven't done that. If you did this just for April Fools, that day is over, so.... the joke needs to be over too.
  3. I understand, but in that case, why not just threaten to make the tracks open for the people who drag their feet past WIP deadlines, like how it's done on other projects? Personally, I think there are more ways to encourage people to finish their tracks, other than a final deadline. I guess I should explain the motivation behind my previous post. I was just concerned because the full soundtrack has about, what,100(?) tracks on it that are over a minute long (and thus, reasonably remixable), and you only have like 70%(?) of those listed in the first post. So if only half of those listed in your post actually get done, 35 or so, we'll miss out on nearly two-thirds of the soundtrack. So yeah, I was just concerned about the sheer number of tracks (many of them decent or overlooked), that would be left out of the final product. I'd hope one would at least aim to cover 50 tracks, for a solid half of the OST. And I feel there's no need to exclude the "less popular" tracks, especially if done solely based upon it taking "too long", ya know? It can take a long time to find enough people who will get the tracks done. Just something to consider. In any case I'm glad to see that the deadline has been moved at least a little bit, so that's all I'll say about it for now. =D
  4. I kind of agree with Chernabogue. I think the deadline may be a bit ill-conceived. An August or September deadline probably would've made more sense, with March as a WIP deadline. Really, why the hurry? I think it'll only do harm, to rush out Uematsu's favorite Final Fantasy soundtrack. Consider this, there are multiple projects that started long before this one, but which have deadlines later than this one. Nonetheless, if you insist on keeping the current deadline, I'll still look forward to hearing the album once it's released, even if it is only half-finished. If I were you though, I'd take the extra time to do it right... and more completely. Just my opinion. =| Ridiculous, perhaps, but at least not incomplete.
  5. From circular 50, at the US government copyright office: "Under the present copyright law, which became effective January 1, 1978, a work is automatically protected by copyright when it is created. A work is created when it is “fixed” in a copy or phonorecord for the first time. Neither registration in the Copyright Office nor publication is required for copyright protection under the law."I think what you're really asking, is "Should I register the copyright of my music?" So, should you? That's up to you. Personally, I wouldn't register a tune I composed unless I was fairly sure that I'd use it for commercial purposes. Registering isn't "cheap"... but that's a relative term, I suppose. No sense in throwing cash at a tune you won't be making money off of. Again from circular 50: "There are, however, certain advantages to registration, including the establishment of a public record of the copyright claim. Copyright registration must generally be made before an infringement suit can be brought. Timely registration may also provide a broader range of remedies in an infringement suit." You can register online or through snail mail. Online is both cheaper ($35 vs $50) and much faster processing time (currently 4.5 months or less versus 15 months or less). Just go to copyright.gov and read the site. Start with the FAQ.As for your next four questions, I'm *not* an expert on this stuff, but here are some of my common sense answers, which might help you out. What are you going to use the demo for? If it's for a soundtrack job, you'll probably need to show off your diversity. If it's for a more genre-specific job, narrow the focus. If possible, I would think it's best to ask the person to whom you're sending it, and it helps to know what job you're applying for... Are you using the demo to showcase your music skills or to showcase your visual art skills? That really depends on how many sample tracks there are (which depends on the job you're using it to apply for). Separate tracks, unless the demo is really really short (2-3 minutes), and each of the samples is only a small fraction (20 seconds or less) of a full tune. It's generally easier to remember a track number, than to remember a a minute:second time. Put yourself in the recruiter's position, would you want to seek to a sample using fast-forward/rewind, or would you want to just select the track number?If you're still not sure, make two demos using each way, and then pretend you're the recruiter and pretend you want to hear a certain sample over again, and act accordingly. That way, you should be able to figure out which demo method will better for that particular demo.
  6. Actually, sorry to correct you, but atonal means that there's no key (and by extension, no tonic). In this case, I'm afraid erineclipse is mistaken about the piece being atonal. This tune sounds like it's in Ab major, which means that it can't be atonal. From what I heard, there are no incorrect notes. It's a jazzy progression, but all of the notes "worked", harmonically-speaking, at least to my ears. I think erineclipse may have been thrown off by the extended chords. However, I'll add a disclaimer to my previous statement by saying that I am not a theory major, and I also have trouble with 13th chords. By that I mean, I can't always discern where the root is supposed to be. For instance, for the 13th chord at 0:11/0:12, you have an Eb in the bass, but for some reason, doesn't sound 100% correct, even though Eb is part of the chord, and could conceivably be the root. I'm guessing it has to do with voice leading. We need someone really experienced with 13th chords to come in and give their opinion.
  7. Didn't they have someone in mind for Battle 2? At least, that's what I remember someone saying [Just went back and looked]. I wonder what's up with that person, whoever they are (no one ever mentioned a specific name). Too bad you can't find that unknown person and work with them on the boss theme. As for me, I came up with a 30-second WIP for Zidane's Theme (as well as a general idea/direction/genre) at the end of November/beginning of December, but I don't have a decent sample library, and the arrangement needs lots of work. I've made next to no progress on it since then. I'm internally debating contacting a couple people whom I have in mind and see if they're interested in working with me on it. I haven't done so yet partly because I'm afraid that my overall vision will get warped too much if I collaborate with others. But, it might be the only way to have it get done.
  8. This is excellent. I can already tell that I'm going to enjoy watching the tutorial vids.
  9. Yeah, I thought it was all 6/4 at first too, but then I realized the last 4 measures before the loop have more of a triplet feel, hence why I'd think 6/8 to be more appropriate. Also, 6/8 separates it into 4 measures of repeating rhythm, intervals, and direction, (rather than only 2 measures with 6/4).
  10. I hate to be overly critical, but... time signatures don't work that way. They're not mathematical fractions where the numerator and denominator can be multiplied and divided to achieve an equivalent result. They can only be reduced depending upon whether it's compound time or simple time. It can't be hypermeter because the bassline rules that out (it clearly delineates measure ends and beginnings). Same with why 3/4 wouldn't work. The tune use a 12-note ostinato, we know that much. Also, even if you don't consider the bassline (like if you mute it), in just the melody alone, you can hear how the Eb hits deliberately on the 3rd and 4th beats (ruling out 3/4). Please listen to this midi of the first 8 measures of the melody. I've removed every other note, so instead of 1 & 2 & 3 & 4 &, etc. it's just 1, 2, 3, 4, etc. Reducing it a 6-note ostinato instead of 12, where each of the 6 notes occurs on a beat. So, I think the melody clearly represents a 6/4 figure.
  11. I think the note accents strongly imply that every two note gets a beat, rather than every 4. So, I'm pretty sure those are 8th notes around 113 bpm. Also, the bassline, especially the long notes at 0:20-0-25 (and subsequent loops), also seems to imply 6/4, rather than 3/4. Here: Midi + Sheet Music using 6/4 time Might not be enough to convince you , but perhaps you'll at least you'll give more thought to the possibility of 6/4.
  12. Ah, you're right. There were 4 measures of 6/8 from 0:27 to 0:33. The part before that was 6/4.
  13. You're good, but you're no Tony Dickinson. Don't get me wrong. It's just that, as it currently is, your work almost seems derivative. I'd like to see a little more in yours that differentiates it from his. As it is, I'm hearing too many similarities. Keep at it.
  14. Yeah, they sound nice, and professional. I see you're using Cubase. What instrument software are you using?
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