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ectogemia

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Everything posted by ectogemia

  1. My first gig was writing music for Maddox's YouTube show. He paid me $100 for maybe 6-8 minutes of music which, in my opinion, was totally fine for my first gig. It's not exactly market rate, but I was just getting my feet wet, and at the time, I wasn't as polished as most other pro/semi-pro composers, so he got what he paid for, haha. I know musicians hate the "exposure card," but to be able to say I wrote music for Maddox was enough for me, and I ended up being right. I've gotten more commissions because of the work I did for Maddox, so sometimes, working for exposure CAN pay off. But
  2. Production is my favorite part of writing music. Y'all jus' h8n.
  3. Yep, critical thinking is the most powerful tool for self-improvement. The more surgically you can identify your shortcomings, the more focus you can apply in addressing them. Personally, I find those two parts of a mix to be the most difficult as well, and I've been loading in reference tracks in a similar genre (hard for me to do since I write weird shit, but something similar enough) and A/Bing mine with effects vs. the reference without effects and EQing til I'm close to the reference track. It's really helped my baseline sense of what good highs and lows sound like.
  4. Figuring out a production workflow really helped my speed and direction when writing, and I accomplished that by watching and reading tons of tutorials on production, talking to producers who are more skilled than I am, and analyzing .flp files included with FL Studio. You can't really have a good production workflow unless you have a good background in production theory, or so I think, at least. Composition is rarely a hang-up for me during the writing process anymore, even though I have a ton of improvements I can make in that realm. It's sort of a "good enough" thing at this point. Unti
  5. Yeaaaaaaaahh, that's what I was thinking. Someone's never played a Genesis. Timaeus, you've gotta speak less authoritatively when you're giving your opinion.
  6. It's some super-distorted simple waveform. It might have a low pass filter with key follow on to let those high notes be really squelchy without having the lower ones be quite so shrill, but iono. Pretty much any synth + some distortion could make this.
  7. Chord tone = a tone in a given chord. So in Cmaj7, the chord tones are C E G B. A non-chord tone is a note in between the chord tones. In C Ionian, those chord tones are connected by d f a, the non-chord tones (respectively referred to in jazz as the 9th, 11th, and 13th rather than the 2nd, 4th, and 6th because if you keep stacking thirds on top of, say, C E G B, you can create extended chords containing the 9th, 11th, and 13th). In C Lydian, for example, the chord tones are connected by d f# a. So if you play the chord tones and non-chord tones in sequence, you get a scale (e.g. CdEfGaB
  8. Looks like this thread is slowly becoming sticky-worthy. This is a shit ton of reasonably well-organized jazz theory.
  9. Yes. Learn the roman numeral (figured bass) notation for major and minor scales, both for triads and for seventh chords. Then you'll know how each chord in an unaltered scale will sound, and that makes writing progressions easier. It also helps drive home the relativity of all the scales and how writing within a scale is essentially just using chord tones and whichever 2nd between these tones you want will suffice. By changing the chord tones of a chord in a given scale, you are changing the scale(s)/pool of notes which would sound best over that chord. Example: Play a I chord in C majo
  10. Yeah, I fucked it up. Oops. That's what I get for being hasty + a DIY musician.
  11. No prob. Don't know what else to say except nope Maybe you're confusing it with something else? Woopz, just caught that last line after the edit. Maybe it is specific to jazz theory, iono. I'm not terribly interested in stuff that isn't jazz theory, haha. Irrefutable Source
  12. So let's assume we're in C major. Keep in mind that II-V-I is really ii-V7-I in most cases. There's common alterations to that scheme, but ii-V7-I is sorta the "standard jazz progression." II-V-I is an unfortunately common way to write the progression, but it's a bad practice because it's really nonspecific. ii-V7-I is the most common way to do it, but you can alter those chord to your heart's content. ii = D F A C (minor 7th chord) V7 = G B D F (dominant 7th chord) I = C G E B (major 7th chord) A basic "rule" in tonal music is that the chord of the fifth tone of a major scale, the dom
  13. Agreed. And for what it's worth, when I write lead parts, I very, very frequently automate the volume, the vibrato, modwheel-linked parameters, change the velocities, and sometimes create cloned instances of the instrument with different envelopes for a variety in the sound. And having mono/legato leads with an "attack sound" lets you create well-articulated slurs (imagine, say, a saxophonist tonguing the first note and then just fingering the second, or guitar hammer-ons and pull-offs).
  14. That's the main thrust of what I was getting at in the OP. It isn't a studio album. There's sound going on around the music. So my question is basically how do I deal with that? How do I mix my music considering SFX will be happening around it? And when I mentioned looping considerations, I really meant that, say, looping a super-compressed, loud 60 second track for hours on end may not be such a good idea, so I was looking for experienced VGM composers' input on how they would mix/master a loop or emphasize/de-emphasize certain frequencies ranges to minimize the annoyingness which can ar
  15. I've been lucky enough to get some VGM composing gigs recently. Aaaand the thought popped in my head that VGM isn't always mixed the same as, say, a standalone studio album. Do any of you experienced VGM composers have any input on how to best mix and master VGM so it isn't too intrusive and loops nicely?
  16. Seconded. For an awesome middle ground between casual listening and studio monitoring, try Sony MDR-7506. I've had mine for a few years, and they still work great. I only use them for all my listening while I'm away from my studio, but even when I was using them for studio monitoring, they did an alright job. They're not as balanced as the DT880s, but they served their purpose when I was first starting out without having to drop a ton of money. I think they're like $75. For earbuds, iono
  17. I think each Anamanaguchi album has its own distinctive sound. But really, I think I prefer their most recent album over any of them. The first third-ish of the album is totally genius, and the rest is great, as well... if you ignore the totally disjointed mastering from track to track. It ain't hard to do because the music is soooooooooo catchy. Helix Nebula and Sting Operation from Power Supply may have the two catchiest melodies I've ever heard, though.
  18. There's a lot that goes in to processing a good dubstep bass, and that extra elbow grease is what sets a badass bass apart from a typical, mediocre "wobble" bass. Messing with unison settings, distortion, FM, resampling, vocoding, filter sweeps, types, and patterns, pitch bending, multiband compression, distortion, pre- and post-EQing are the main tools. The Youtube guy I linked you to will demonstrate how to use all of those things to make dubstep basses.
  19. Well, that's an easy one. Here ya go. Watch the rest of his videos to become dubmaster.
  20. And the kid was 16 when he wrote some of those tracks. It's totally beyond my comprehension. Now I feel bad Shnab is one of my favorite arists, easily. Also, did anyone mention Blitz Lunar's 'Triptunes'? That's a crazy good album. And I can tell you from talking to Blitz Lunar that the album is crazy inspired. The listening experience is always enhanced for me when I know that the artist who wrote the music wrote it for a reason other than $$$$. Does anyone else find that to be the case?
  21. You beat me to it. This is the best chip album I've ever heard, and I've been listening to tons of chip music since 2006.
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