AngelCityOutlaw

Updated first post, fixed the broken link in the original post and added the YouTube link to the remix as well.

I could totally see that source being turned into a flamenco track. Anyway, I like the overall vibe of it so far; smooth and calm. The lead that starts at .47 or so may be a little too quiet though. The snare also sounds rather dry to me. That's as much as I can comment on production since I'm not good at production. Perhaps in the intro, instead of the bass just starting like it does, do a slide or some short lead in. The transitions also feel a bit weak to me. Most notably 1:33. Again, some short bass transition just before could work. At 1:02, the bass just stops, it doesn't sound like it returned to the tonic as I was expecting? A simple G note on the bass where it stops should suffice. That's all I can think of at present. Hope something I said helps.

The worst thing about this mix is the title. Shoulda stuck with "Dem Chemicals". "Dat disjointed chemical" makes no sense. The track is still awesome as hell though. I remember the first time I heard it...which was quite awhile ago

I agree with Meteo. Personally, I never found the "philosophical" advice when it comes to composing music to be very helpful. That's because, despite what a lot of people will try to tell you, writing music is a craft; It's a skill that can be taught, learned and improved upon.

I have hearing damage so the opportune moment for that probably came and went a long time ago for me. I have a pretty damn good ear for pitch, though. Which is strange.

Each time you have a repeated section, just simply change it up somehow. For example, if you have a particular melody for the verse, try putting a different rhythm beneath it and/or imply the chords rather than playing all the chords normally etc. That tactic is actually quite effective because harmonically it is the same, but the listener likely won't notice unless they listen closely. You can also make changes to the melody, add counter melodies, modulate to a different key etc. You can also change the instrumentation or surprise the listener a bit by making the phrase end differently than they expected. Basically.....just make repeated sections noticeably different somehow lol. However, some people say "change the genre". I'd advise against doing that. At least, I would not make a piece where the verse is metal, the chorus is dubstep and the bridge is country. If you have elements of multiple genres, you should have just that; "elements of multiple genres". Like how in this trance track I just did, there was an orchestral break in it, but there were always some orchestral elements throughout the rest of the track. So it doesn't seem out of context with the rest of the piece.

Yeah supersaw ftw

Alright, here's the last version: https://soundcloud.com/angelcityoutlaw/resident-evil-remix-my-bloody I made several of the adjustments T suggested. I reduced the reverb and delay feedback by about 10%, I removed the snare's high pass. I also tried layering it with snares with more low end, but I couldn't find a result that satisfied me. So I stuck with the "if it's "not bad" don't make it worse" line of thinking. I got rid of the cliche filter and just went with a phaser transition as suggest. I also dropped the strings volume a bit in the place suggested. I also switched the saw tone to a much better one and finally, removed some of the ambiance on the final drum hit. Mod Review this mutha'. Anyway, I really must get back to the Castlevania mix. Enjoy!

Coming from you, that means a lot, actually! Especially since my production is usually complete shit. Yeah, I guess I could make the adjustments you suggest and then make it a "mod review" version and see what they think.

Alright, I'm calling her done. It's not the worst RE remix of all time, but I doubt it's an "Overclocked" remix. https://soundcloud.com/angelcityoutlaw/my-bloody-valentine-resident

Updated! Now with 30% more film score style!

double bass

Fun Fact: The first video game tune I ever tried to make an arrangement of was this song, the save room theme from RE3. I have also added in some parts from Jill's theme in MVC3 Check out the current state of the remix here I never realized till now how much the theme sounds like the X Files theme. Anyway, I've been playing Revelations and Rachael is terrifying. Let me know what you think of the mix so far. The intro is all spooky, movie style stuff and then from there it goes into some good old fashion trance. I don't think I have done straight up trance music for a year now.

This, really.

Male. Low voice. PM Orangedragan

Trivia: The original title for that album was "Technomanga up your ass", but the record label wouldn't allow it, so the title was changed.

Blast beats everything needs more blast beats.

Yes, knock it before you try it; some cut-scenes are sufficient to form a well thought out, supported opinion of why something sucks. Clearly that is the lesson in all this. I do agree though that for the purpose of her arguments, playing the games isn't really necessary.

Good old Guitar Pro... Hate GP6 though. 5 all the way

Hey everyone. Not exactly posting music in the traditional sense, but I guess this is where this would go. A couple years back, when I was 19, I got my first ever gig to write some music for a game. Here we are, two years later and the game is finished and ready to come out in August. You can check out the trailer here: http://youtu.be/5eAzRw0OIok The music featured in this trailer is a track I and another composer wrote. It appears as one of the stage themes in the game! The soundtrack features quite a few goofy and fun sounding tunes to fit the game. Looking back at the tracks I did entirely on my own two years ago, I feel that I've improved a lot since. So what that means is, except for the collab tracks, I was tasked with doing the mixing and production on my own. So on my solo mixes, I'm not entirely satisfied with the result on the production end, but the songs still are good and the developer is happy with 'em. Hey, when you're 19 and someone offers you the chance to write some music for a video game, you don't typically say no! Seriously though, I hope you'll check out the game and its music when it comes out. Until then, enjoy the trailer! I know that a Herculean effort went into animating the game frame by frame over a period of several years! P.S. Also, be on the lookout for a trailer for a first-person shooter game that features a track composed by Timaeus222 and myself in the near future!

There is this game I want to buy and I just searched it up on EB's website to check how much it costs. It made me think of your comment. I lol'd hard. Here is the screenshot I took:

What matters is that you have some of the original melodies. Try using a different chord progression or using the same one but inverting the chords, arpeggiating them, etc. New drum beats, basslines, rhythm in general. Use totally different instrumentation than the original. Other than that, it is just a matter of writing and harmonizing your own melodies and putting them into the piece as well. EDIT: Basically, it should be an original piece that has some of the melodies from the source tune.

Oh okay, I thought it was an odd example at first since it you were talking about production and the thread is asking about composition. I see your point.

I think you're confusing composition and production in that part about bLiNd and Sole Signal. When you go to school for composition at most places, that's what they teach you to do; compose. At the Universities in my province, the last year of a 4 year degree teaches you just absolute basics about using a DAW for the purpose of composition. Although they can be done by the same person, being hired to compose is not necessarily the same as being hired to mix and master music. It's like how I hired you to mix and master my composition for that game. I'm more than willing to share a percentage of any money I make (which has never been huge money) to make sure my music sounds far better than I could mix and master it. If you're a composer, your focus should be composing great music. That's not about EQs, compressors and faders; it's about your knowledge of actually composing and most of that comes from a strong knowledge and application of music theory. That being said, if one way or another you can't provide good production, you probably aren't gonna get hired. Some composers who work freelance for major film and game companies can often demand and receive a percentage of the project`s budget. Sometimes as high as 10%. 5-10% of a project that has a budget of millions of dollars is VERY good money. Music is a huge part of films and games so paying the composer 5-10 percent of your company's budget is hardly an unreasonable expense. However, the number of people constantly scoring such well funded projects are few. So no, you DO set the prices, but you have to be working for someone who can actually pay those prices and that is all about connections.Speaking of which, most "composers" don't want to get out there and actually meet people face to face. They just post on indie forums that no one looks at and then cry about how unfair the music industry is when they either A. Can't find work or B. Complain that all they get is indie-projects that pay little to no money. I have never been paid a shitload of money or enough to live on with music, but I'm no longer convinced that it is impossible. The odds are stacked against you for sure, but if work to constantly improve your craft, get out there and go to places where the people who work in the business are and make good connections and friends, or even do other kinds of jobs working for those companies, it is absolutely possible. A music degree will make people more interested in checking you out, but it means nothing if you don't get out there and network. The reason you should go to school and get a degree in the arts is not to get a job; it's to learn from others how to improve your craft. It's not the only way, but it's definitely easier and faster than teaching yourself.

The portfolio by far. No one cares how you learned to do it as long as you do it well.