Phonetic Hero

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About Phonetic Hero

  • Rank
    Temporal Duality Asst. Director
  • Birthday 01/10/1992

Profile Information

  • Gender


  • Biography
    Multi-genre game composer and arranger
  • Real Name
    Pete Lepley
  • Occupation
  • Twitter Username

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Synthesis & Sound Design

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  1. Phonetic Hero

    How Significant Is Forum Feedback In Improvement?

    I'll concede that feedback isn't technically necessary in a mentorship (which is extremely strange to read), but I still think you're reeeaaally glossing over the importance of feedback. A "mentorship" in which the mentor isn't observing the mentee's work and giving feedback more fits the description of a generalized teaching course, where a teacher/professor is going down a list and throwing out advice point by point, regardless of whether or not it's pertinent to the student. At least in my opinion/experience, this isn't the most effective way to help someone learn. The feedback process, to me, is about looking at where someone needs to improve and providing targeted advice to help them learn how to do it. Yes, personal drive/ambition is obviously important to anyone's progress as an artist, but why undercut feedback as a valuable part of the improvement process?
  2. Phonetic Hero

    How Significant Is Forum Feedback In Improvement? the fuck is a mentorship going to work without feedback? Lol A mentor giving advice without knowing what the mentee needs sounds like an extremely ineffectual relationship
  3. Phonetic Hero

    How Significant Is Forum Feedback In Improvement?

    I think it's very important when someone's starting out. I had no idea what questions I needed to be asking back when I first started, and having people to point out flaws I wasn't even aware of and explain how to improve them is, in my opinion, absolutely instrumental to anyone's development (whether I wanted to hear it or not at the time ). Whether someone gets the feedback from a forum, or friends/peers with more experience, or teachers/mentors, I think most people need feedback from those with more experience up to a point. I know I did. Once you're familiar with the general concepts of music composition and production (and know where to look to further your knowledge), improvement becomes much easier to pursue on your own. But it's hard to know what questions you should be asking when you don't know what you need to know, ya know?
  4. Phonetic Hero

    Music Software and Hardware Deals

    8Dio's having 2 weeks' worth of flash sales to celebrate their anniversary with a new featured product every 48 hours. I think they're only a few days in - Epic Taiko Ensemble was directly before Rhythmic Aura, so there should be 5 more sales on the way. Definitely keep your eye out, 8Dio makes great stuff EDIT: Also going to include my personal favorite library for lead strings (does both agile and flowing lines very, very well), also from 8Dio. An absolute steal at $44 -
  5. I really don't think you need a MIDI controller, honestly. You can do anything a MIDI controller would let you do by properly routing controls to your MIDI outs and clicking things in - they're really only for expediting the process, if you're good at playing things in or recording automation live. I bought one when I was just starting out because I was under the impression that it was a necessity, but I've really never used it or any other hardware MIDI controller and I'm doing just fine (worth noting that I don't have piano chops anyway though, haha). If you're trying to save money, I'd say don't bother getting one yet and put that money toward improving your orchestral arsenal, if that's what you want. It's just another luxury.
  6. Phonetic Hero

    Castlevania Season 2 Cometh

    Super excited. That Alucard Sword effect at 1:20 has me all kinds of hyped
  7. I agree you can get plenty far for much cheaper. Miroslav is a great starting point and SUPER affordable. If you're looking for something more high end but still affordable, Adagietto, while not "over-priced garbage", is from 8Dio and is on sale right now for $118. It's got everything you need to get you going as far as strings - all instruments, sections and ensemble patches, any articulation you'd need (including nice legato patches), mod support on sustains/legatos. I also (foolishly) bought Albion years ago, and Adagietto pretty much eclipses it in every regard except for the spiccato articulations. Unless you also need to buy the full version of Kontakt, $700 is way more than I think you need to get going (which is hopefully good news!). Watch for sales! I always keep my eye on: Native-Instruments - they've had sponsored bundle sales of third party instruments, which has landed me some incredible deals Embertone - great solo instruments and prices, once you get to a point where you have a need Soundiron - they've got sales pretty frequently Ilya-Efimov - excellent ethnic winds and oddball instruments Strezov Sampling - while I don't own any of their instruments yet, they've got some affordable brass libraries that sound really great As blunt as MX is and as sour as I find almost every post of his I've read, I have a hard time disagreeing with most of his sentiments. I started with a pretty bare setup. I used the Kontakt's free factory library with Kontakt Player (also free) for my first game soundtrack years ago, and it worked out fine because I put in the time to figure out HOW to make it work fine. I think good MIDI composition is much more about creative processing and knowing how to use what you have than it is about what you actually have. Hopefully that's more encouraging than not haha. Good luck!
  8. Phonetic Hero

    Advice on Channeling Creativity from Anxiety

    I know I've suggested it before, but I really can't say enough about how helpful transcription is for me. If I'm feeling like I don't have much creative juice in the tank, transcribing takes a lot of the stress of "being creative" out of the process, and I always learn something when I'm so closely analyzing someone else's music. Just getting something out, even if it's a straight transcription, comes with the added bonus of feeling accomplished for finishing something, which I think is important for building confidence. If you find yourself inspired in the middle of the process and feel like changing some stuff around, roll with it and have fun - it could even turn into a remix if you're really feeling it (but doesn't have to!). I keep a notepad document on my desktop with suggestions for myself with games and specific tracks from those games that I like and feel I could learn something from. My go-to right now is the Mega Man X: Corrupted soundtrack by Dominic Ninmark - a fanmade game with some super great SNES-inspired MMX tunes. It's completely unrelated to what I'm working on outside of the transcription, but that separation further helps me find my motivation again.
  9. Hey Phonetic, Just sent you a PM!! Please check it out, thanks ;3

  10. Phonetic Hero

    Video Game Addiction

    I'm SUPER glad you're not suffering from video game addiction, but please don't assume it isn't a real problem just because you don't have it. Keep in mind people used to doubt addiction to hard drugs and alcohol in the same way, attributing their addictions to "bad choices" rather than the actual neurophysiological changes that had taken place. Pretty much anything that produces a dopamine response can be addictive and lead to problems with impulse control as well as being extremely disruptive to motivation and memory circuitry. An inability to abstain is the feature of addiction, and video games are designed to keep people playing. This applies so much more strongly to modern games considering developers have had decades to refine their methods, and in a lot of cases modern games are downright predatory in this way (games that combine gambling with gameplay in particular). Not everyone who plays games will be addicted to gaming just like not everyone who drinks will become an alcoholic, but it IS an extremely fast-growing issue.
  11. Phonetic Hero

    OCR03684 - Seiken Densetsu 3 "Moonlight Dance"

    Super cool track!
  12. Phonetic Hero

    OverClocked ReTreat

    Can't say if I'd be "likely" to sign up at this point, but I'm interested for sure
  13. Phonetic Hero

    OCR03653 - R4: Ridge Racer Type 4 "Tarmac Chill"

    Daaaaaamn Jesse you killed it! For sure the most polished vocal performance I've heard from you. Great moves, keep it up, proud of you
  14. Phonetic Hero

    I need to know if this is normal...

    In general, yes. The idea with the dummy instruments is laying down the harmonic foundation and figuring out how the track will progress on a larger scale. I'm not looking to find the perfect instruments at that point, just figuring out what chords I want to use and probably chunking out some melodies to be molded as I go (it's almost never perfect the first time, so iterate!). It can be easy to get overwhelmed by feeling like you have to make all the right choices right off the bat. So don't! Don't worry about it until you've put down the basic notes you want. Instrumentation/orchestration and voice leading can come later. If this is still difficult, I recommend simplifying even further. Try writing chiptunes and imposing most, if not all, of the limitations of the hardware on yourself. If you can't/don't want to emulate things exactly, that's fine! Remember, the goal is to get more comfortable with laying down notes and get a feel for structuring a track, not to write a perfect chiptune. By purposely limiting your options for production and instrumentation, you'll have a much clearer focus on the composition and an easier time learning about harmonic relationships.
  15. Phonetic Hero

    I need to know if this is normal...

    If you're having trouble focusing your learning process, I can relate - I have minimal formal theory training as well, and it can be especially hard to know where to start when you don't really know terms. Here's the resource that's helped me the most lately: If you're having issues with composition specifically, I'd particularly recommend any of his videos that talk about utilizing motifs. There's a Dark Souls vid and a Zelda: Link's Awakening vid that talk about motif use and transformation pretty thoroughly, and it's really made a huge impact on my writing lately. Aside from that, the best recommendation I have is to transcribe. A lot. Even from your own tracks. If you find a chord progression you really like, throw down a dummy instrument (my go-to is a simple triangle wave), write it out and examine it isolated. Or if you like the interplay the chords had with the melody, put down another dummy for the lead and look at the relationships between the two. When you find something you like, even if it's from someone else's work, try emulating it. Don't feel bad about borrowing elements from music that inspires you, especially when you're learning something new! Adding techniques to your repertoire will make you a much more effective composer when it comes time to write to a client's specs, and I find that the more comfortable you get with a new trick/technique (even if it's "borrowed"), the easier it is to implement it into a track with your own spin to make it sound more unique. It's not necessary to rediscover every composition technique for yourself, only that you can use it effectively. The chord/lead dummies also translate into my own originals and arrangements, not just transcription. Blocking out a new section can help you determine how well it flows with the preceding material, and it really helps me avoid wasting time fleshing out an entire section only to find it won't work structurally. I also have to echo Timaeus that if it's possible, make at least a little time for music stuff almost every day, whether it's starting a new tune, transcribing one of your favorite game tunes, or making a new synth patch. But don't beat yourself up if you miss a day and definitely take a day or two off if you need it. The mind needs time away from conscious processing to recombine novel information and let what you've learned solidify. It functions a lot like a muscle; overtraining is more detrimental than it might seem on the surface, so if you find that it's too stressful doing X number of days per week, back it off a bit and make sure to focus on enjoying the process. Maybe even just pick a few days of the week to purposely be away from music, or schedule out what you want to work on for which days - it's the consistency that's most important rather than the sheer quantity of time you spend with music. Hope that's helpful