AngelCityOutlaw

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About AngelCityOutlaw

  • Rank
    Chrono (+3000)
  • Birthday 04/23/1992

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  • Gender
    Male

Artist Settings

  • Collaboration Status
    1. Not Interested or Available
  • Software - Digital Audio Workstation (DAW)
    Reaper
  • Software - Preferred Plugins/Libraries
    Cinematic Strings 2, CineBrass, CineWinds, Apocalypse Percussion, Ra, Era II Vocals, Olympus Choir, Ancient Era: Persia
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Lyrics
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design

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  1. Good god, man. Have you been working on this for four years now?
  2. AngelCityOutlaw

    ProjectSAM Orchestral Essentials 1 or 2?

    My favourite things from OE1 are the pitched-percussion instruments. I don't own OE2, and couldn't justify buying it now, but I wish I'd gotten it instead of 1. I really like the fantasy-oriented approach they took with it, it has better legato instruments, etc.
  3. AngelCityOutlaw

    Inspirational OC ReMixers. Ego food donations.

    I'll bet you he's willing to lie for McRibs
  4. AngelCityOutlaw

    How do you make a theme villainous?

    There are a couple easy ways you can practice putting the mode into use with just the white keys on a piano. I assume you play or can at least use a piano roll? In the bass, use a synth pad to hold out a drone of a low E note. Then, over top, start noodling around to create a melody, but also start from an E note. Emphasize E, F, and D when you play. That'll give you the sound of the phrygian. For the chromatic mediants, play an A minor chord with you left hand for one bar, then follow it with a C minor chord for 1 bar.
  5. AngelCityOutlaw

    Inspirational OC ReMixers. Ego food donations.

    The technomanga "don't fuck around" guy was also pretty inspiring.
  6. https://www.polygon.com/2018/11/20/18104561/kingdom-hearts-3-gone-gold-release-date-new-trailer?fbclid=IwAR1e_Oo1M2JKcJUNjqF1OCGq1BYiJ5hFG68uHhi4TgW_NTzz4lcBzXUSzuM So KH3 is finally done. Something that's been on my mind about this game for the last year is exactly WHO the target audience of this game is at this point. I was 10 years old, when the first game came out. It's taken this long to get to third numbered entry in the series. Anyone who was an original KH fan, is now 25 - 35 years old and the new game features mostly worlds from Disney films we didn't grow up watching, and many out there would say are inferior to the company's work from the 80s - 2000. So, I know that I just don't see the appeal at age 26-going-on-27 of running around with Donald and Goofy smacking up the world of Frozen. I wanted to say "Oh, maybe they think that we'll play it with our kids now" but that can't be it given the 1.3 birthrate of Japan and every country in the west. Most of us are childless. So like...who do they think is going to buy this game that was announced when I was 20 - 21 years old and it's been nearly 20 years since the first one? There's also going to be no final fantasy worlds, so I couldn't even latch on to some nostalgia there. I think this is going to wind up being a testament to the fact that if you make a series aimed at children, you have to actually finish that series fairly quickly before those children lose interest. It'll be interesting to see sales numbers and demographics when this thing drops. I'm goin' to throw in my prediction now that it's not going to sell nearly as well as anticipated.
  7. AngelCityOutlaw

    How do you make a theme villainous?

    Modes like the phrygian work well. But one thing that will help you is chromatics and mode mixture. Specifically, chromatic mediant chord relationships. What this means is the progression consists of two chords that are related by a third, and are of the same tonality. So like, A minor to F# minor. Or A minor to C minor. Gmaj to Eb Major (very common one in "space" themes). This kinda thing is everywhere in film and game music. Observe, chords separated by a distance of a minor third/major sixth. As for uses of a specific mode, here's the phrygian (3rd mode of the major scale) in action. It's also the go to for heavy metal rhythms. Combine the two methods and you'll get an extra evil result. You're in luck because this Mario tune's intervals are already phrygian, but the backing harmony is not. So change it from major to minor, add some chromatics and go from there. For example, after the first few notes, when it jumps up to the root at the octave, play the next note a half step lower instead of jumping farther back down like it normally does, and I think you'll start to see the pieces of the puzzle fall into place.
  8. AngelCityOutlaw

    Inspirational OC ReMixers. Ego food donations.

    Eh, it's inevitable. Separate the art from the artist and all that jazz.
  9. AngelCityOutlaw

    Inspirational OC ReMixers. Ego food donations.

    NekoFrog was, until I talked to him and it turned out he was an asshole. Never meet your heroes, people.
  10. "Transitions", as in, an independent little section or fill that bridges the gap between 2 distinct sections is honestly more of a thing in rock and electronic music. This is something that was always a big topic around here back when I joined, but I actually think a lot of music is made worse by having these little 1 bar phrases and such between two different sections because it creates an odd (or even, depending on song) # of bars in a phrase and feels like it "resets" the tune to my ears rather than creates a flow into the next section. Like listen to these examples of orchestral or cinematic tunes: None of these pieces have anything I would specifically call a "transition". It just goes one section into another. They do however pay attention to two things: Anacrusis, and voice leading. An anacrusis is a few notes before the first measure of a phrase that "lead-in" to it. A very common variant is that, in a minor key, you might have played the 5th and the minor 7th before playing the root on the downbeat of the first measure of the phrase. Voice-leading refers to how the voices (instruments) or lines move to another pitch. You want to avoid creating too many "leaps", that is: movement larger than a major third. You want stepwise motion as much as possible. So let's say that: Sections A and B are both 8 measures long. The melody note in the last bar of section A ends on the root, an octave below where you started. This means that section B should ideally start in the new, lower octave rather than having the melody jump all the way back up. If I do go back up into that higher register for the beginning of section B, than I would create an anacrusis leading into that pitch, with a different instrument(s) above the previous melody in the last bar of section A. Also, if you come back to the tonic chord in the last bar before a new phrase, have a quick chord change on the last beat or couple of beats in the last bar so that it will smoothly lead back to the tonic, or whatever chord begins the new phrase. You can use percussion like timpani and cymbals rolls to accent this or ramp the tempo a bit, but basically: There is nothing terribly special you should have to do to make two sections, even very different ones, flow into each other well if your voice-leading is strong.
  11. AngelCityOutlaw

    Do You Still ReMix — Why Or Why Not?

    No. It's their own interpretation of it. Exactly. I'd again use the biological child vs adopted analogy. Jesus...now I know how Dr. Strange felt.
  12. AngelCityOutlaw

    Do You Still ReMix — Why Or Why Not?

    I agree with all of your points, and especially like this last part. I've been thinking about a way to try to summarize this, and I think the easiest way to put it is that it's a matter of creation vs adaptation. Perhaps we're at a point where there will always be a little of each present in both, but the latter ultimately only exists because of the former. Therefore, no matter how much I may prefer a cover, I just can't place as much artistic value, both as a listener and as a writer, on it as I can on the band/composer's own ideas
  13. AngelCityOutlaw

    Do You Still ReMix — Why Or Why Not?

    This is a good post. Unfortunate you weren't here to make it earlier Regarding your point about holding off on composing for fear of sounding similar to something already out there, never let that stop you. Especially where harmony is concerned, it's truly impossible to come up with something that hasn't been used before. But these are musical devices: chords, scales, structure, etc. are established tools of the trade that allow you to create an infinite variety of combinations, of which something — a tune — emerges that, despite being stylistically similar to something else, is the result of your unique utilization of the craft, and results in something that is purely the product of your work that they will know long after you're dead, is your tune when they hear it. It's like adoption vs biological child: Yeah, you can love the adopted one just as much and raise them as if they were your own, but at the end of the day they didn't come from your DNA. Why some musicians, especially those who are composers themselves (and this site doesn't accept straight cover tunes), would rank this as being no different from and equal value to simply adapting another composer's piece to fit their style, is something I just don't understand and to be honest — find really depressing.
  14. AngelCityOutlaw

    Do You Still ReMix — Why Or Why Not?

    I know. I mentioned them. It wasn't meant to be anything other than a statement regarding a con of remixing in terms of building a portfolio. Sure caused a lot of butthurt, though. I didn't start telling others that the way I think they view it is wrong until they started flipping the table about it in the first place. I think it's his version of the song. That's different than saying it's his song.
  15. AngelCityOutlaw

    Do You Still ReMix — Why Or Why Not?

    But why is it the law? If everything is ultimately derivative of something else (like what Phonetic Hero thinks) then why have this law at all if nothing is really original, right? and you said and yet you can still be successfully sued if you were to release a recording that uses a zelda melody without proper licensing agreements. Why though? How can they get away with this since it sounds "100% zykO, right? Have you considered that maybe it's because it's not 100% zykO at work here, even by your own admission? It's not that I don't understand your style doesn't shine through, but that's irrelevant. Your issue, my friend and the cause of this disagreement, is precisely that you are not concerned enough with the tangible, basic truths. You know, Meteo Xavier had something in a thread of his recently that has really resonated with me, and I think hits the mark in this mad tangent of a debate this thread spiraled into. There can be no doubt.