AngelCityOutlaw

and people said I was crazy when I nuked my stuff a week and a half ago.
Anyway, Soundcloud started to go downhill when they got rid of groups (because reasons), which were easily the best way to find new music and share your own; you didn't have to ostensibly resort to cold calling people to get a new follower. Especially if you just created an account — it would be like an anechoic chamber.
It would also help if I wasn't getting messaged and follows from at least one bot every day telling me about what a bad girl she's been lately.

and people said I was crazy when I nuked my stuff a week and a half ago.
Anyway, Soundcloud started to go downhill when they got rid of groups (because reasons), which were easily the best way to find new music and share your own; you didn't have to ostensibly resort to cold calling people to get a new follower. Especially if you just created an account — it would be like an anechoic chamber.
It would also help if I wasn't getting messaged and follows from at least one bot every day telling me about what a bad girl she's been lately.

I'm sorry, but these complaints are absurd.
• There has to be a fleshing out of the story before he went to Dracula's Castle and the Church behaving like a gang and preventing the advancement of medicine and science by deeming it "witchcraft" is perfectly reasonable in 15th Century Europe — I mean it's not the like church ever did that back then, right? 
• The series doesn't end at episode 4. There is more to come.
Lastly, I find the music perfectly fitting to the series when you actually watch it. The ambient, moody and pulsing soundtrack is a perfect fit.
I've not seen anywhere in the series thus far and I've watched it twice through where nearly any of the music from the games would fit without making the scene terribly cheesy.

I'm sorry, but these complaints are absurd.
• There has to be a fleshing out of the story before he went to Dracula's Castle and the Church behaving like a gang and preventing the advancement of medicine and science by deeming it "witchcraft" is perfectly reasonable in 15th Century Europe — I mean it's not the like church ever did that back then, right? 
• The series doesn't end at episode 4. There is more to come.
Lastly, I find the music perfectly fitting to the series when you actually watch it. The ambient, moody and pulsing soundtrack is a perfect fit.
I've not seen anywhere in the series thus far and I've watched it twice through where nearly any of the music from the games would fit without making the scene terribly cheesy.

Oh, also, something that gave me a hardcore nerdgasm is the that the intro's style and colour choices are directly lifted from the art of Edward Gorey and Aubrey Beardsley. The former who made one of the earliest illustrated adaptations and plays of, and the latter's whose art influenced and was featured in, editions of Bram Stoker's Dracula.

It would be great to see this story unfold through more flashbacks. Considering they only had 4 episodes in the first season they probably felt developing the other characters and world were more important.

Both Cubase and Logic (and maybe some others) support sheet music and I believe can export as sheet music (you can also load MIDI into Finale and Sibelius).
However, DAW capabilities with notation are not nearly as robust as dedicated software for notation like Finale and Sibelius. It is also input as MIDI data, but it will be ultra-rigid, inhuman sounding MIDI, so you'd be better off to do what most people do with DAWS: Play the parts in live with a MIDI-keyboard controller for the most realistic results and edit the MIDI data after if need be.
You could still compose the tune in Finale first if you want, of course — but a truly synergistic system between the two doesn't really exist, sadly.

I'd say IGN, of all places, put it best in saying (paraphrase) "When a show's biggest problem is that it's too short, you know it's doing something right."

Both Cubase and Logic (and maybe some others) support sheet music and I believe can export as sheet music (you can also load MIDI into Finale and Sibelius).
However, DAW capabilities with notation are not nearly as robust as dedicated software for notation like Finale and Sibelius. It is also input as MIDI data, but it will be ultra-rigid, inhuman sounding MIDI, so you'd be better off to do what most people do with DAWS: Play the parts in live with a MIDI-keyboard controller for the most realistic results and edit the MIDI data after if need be.
You could still compose the tune in Finale first if you want, of course — but a truly synergistic system between the two doesn't really exist, sadly.

Well, Finale is not a "DAW". It is a notation program that can support MIDI and playback via proprietary samples.
In the case of orchestral music, Cubase if you're on a PC and Logic if you're on Mac are the way to go for DAWs. Load this up with 3rd-party orchestral sample libraries like East West's Hollywood or Symphonic Orchestras, Cinesamples, Spitfire, Orchestral Tools' "Berlin" series, 8Dio, etc. and you're good to go.
Be warned that this is an expensive endeavor with a steep learning curve, but it is absolutely worth it.

I'm a firm believer that most "mixing" happens in the arrangement/orchestration stage. Sometimes the best thing I can do for a song is delete a part that doesn't need to be there. It's so easy to get carried away with layering, with today's technology essentially eliminating almost all technical limitations of recording and composing. But just because you can easily stack a hundred tracks on top of each other, doesn't mean you should. Restraint is an art form; the notes you don't play are every bit as important, if not more so, than the notes you do play.
More and more I'm learning that trying to fill every possible hole in the sonic spectrum just leads to mush, and ultimately, an endless "tail-chasing" cycle with EQ and compression and all that. The more empty space you have, the more powerful each note is within it.
When you've got dozens of synth plugins, and two hard drives full of sample libraries, sometimes the greatest challenge is refraining from cramming all that awesome stuff into every song. Tasteful, well-recorded sounds, when mixed with other well-recorded sounds, should ideally not need any EQ at all. In theory, anyway. If you're trying to carve holes to fit more stuff in there, maybe you've got too much stuff in there already.

Lmao oh man this is gold.
I wonder if this is his approach to dating too?
"I tell ya what: I'll stop stalking you if you go out with me. We got a deal, or what?"

In all seriousness: I do honestly think that this person has mental health issues; likely OCD or some sort of anti-social problem, which I'd advise seeking professional help for if you are not currently doing so and are reading this.
Creating multiple accounts, outright cyberstalking people (harassment) for months, and only willing to stop if you get what you want from them, which in this case is an extremely arbitrary, insignificant thing — is not normal or acceptable behavior.

Lmao oh man this is gold.
I wonder if this is his approach to dating too?
"I tell ya what: I'll stop stalking you if you go out with me. We got a deal, or what?"

Lmao oh man this is gold.
I wonder if this is his approach to dating too?
"I tell ya what: I'll stop stalking you if you go out with me. We got a deal, or what?"

Lmao oh man this is gold.
I wonder if this is his approach to dating too?
"I tell ya what: I'll stop stalking you if you go out with me. We got a deal, or what?"

So I saw this thread a while back lol, and was checking out some of the new remixes posted on Youtube.....when I came across this xD. (The last part is what gets me lol)
 

Yeah, I'm fairly certain the rock/metal genre has the "live instruments on OCR" market cornered.

If I get what you're asking: The standard these days is to use a MIDI-controller keyboard; the keyboard records the notes you play into the DAW as MIDI information that is sent to virtual instruments as the MIDI keyboard itself outputs no sound. You can either input the data in real time or one note at a time via "step input" in any DAW worth its salt. When you hit a key, the instrument you have armed plays back its sound.
In terms of Chord Creation tools, something that specifically generates progressions as MIDI can be found in DAWs like Cubase, but it's rare to find someone who bothers with it.
Most composers and remixers these days use the DAW/MIDI controller combo for every aspect of the composition process.
 

I don't really know many people in the industry who got where they were by being lucky instead of having the patience and intelligence to find and seize opportunities.

The latter may not be "hard work", but it's certainly not random, which is what you're implying. There are pretty commonly agreed upon strategies to succeed it in the industry, just not everyone has the willpower or patience to consistently follow through with them over a course of many years. It's not easy work, dare I say, it is... hard work after all. So not "everyone would do them". That's only assuming they're easy strategies, which they're not. They're very demanding and not everyone is up for them.
That's actually why I quit trying! I can see myself succeeding as a game composer, I'd also have to sell my soul a bit and slave away at cold emails and pay out the ass for networking events. Can't handle it. So I don't, and found an opportunity elsewhere in a different industry.

But you don't see me being cranky and cynical and butthurt about it everytime someone asks for career advice. 

I think that overall, what you're saying is true, but I think you put a bit too much emphasis on "luck" and this bolded text in particular.
I've attended, since its inaugural year, what is now the largest annual video game devs conference/mini-E3 in Western Canada. I've met one other composer who can be bothered to show up to whatever kinds of events are going on. I've met a composer who showed up blasting bad music sequenced with Guitar Pro and when (surprise) no one hired him, he never showed his face again. The story rings true in the indie-film scene as well.
The most successful rock band where I'm from, is Nickelback. Every other rock band around here can't be arsed to learn to play to a click track, won't learn even BASIC music theory and are just terrible in general. For all the hate they get, Nickelback is the best and most competent band we've ever produced. Every group of overweight guys and their attempts at "metal" shit on NB though and no word of a lie, the average elementary school is producing more competent musicians than these haters. Yet, they can't understand why they rarely get gigs and they're always unpaid; it's the Dunning-Kruger effect in high gear.
I've made more money than any EDM producer, rock band, etc. in my area that I know personally (and I'm certainly no millionaire) 6 years ago, when I wasn't even half the musician I can be now, off scoring indie games and stuff simply because I was willing to try and learn and improve best I can. I'm willing to get out there and meet people, I'm always trying to learn how to compose better pieces, learn more theory, etc.
Yeah, luck is involved, but that "luck" is more the result of working hard and placing yourself in situations and relationships that can open doors for you. It's like the luck involved in any other field you try to break into: You can't just GIVE yourself the job, but you can do can your best to (hopefully) make yourself a much more attractive hire than your peers and hope for the best — it's all you can really do, but if you don't even give it an honest effort, you'll never succeed.
The truth is: If there was a recipe for success, most people couldn't be bothered to put in the requisite work necessary to do those tasks.

That's what she said
It does, you also want to pay attention to the specific types of motion among the voices (rather than just simply creating inversions) and from this you can get into serious counterpoint territory.
The sentence and period structures are classic ways of phrasing themes.
Here's a good tutorial about them
Sentence Structure, John Williams "Flight To NeverLand Theme":

 
Period structure, John Williams "Anakin Theme"

Everything everyone else said and..
• Proper voice leading will help you switch between incredibly different ideas seamlessly with little effort.
• Varying the intensity and density of the arrangement
• One bar between the sections that acts as a "fill" of sorts. In this bar, you might bring in some of the voices from the next section while ending the previous section on a V chord or some other cadence. Utilizing contrary motion between these new voices as they rise/fall to toward the new harmony (generally the tonic chord) is very effective.
• Ending the section on the V or VII chord and using sound design to the lead into the next part 
• Keeping an ostinato or one element the same into the next section.
• Modulation
• Composing themes with sentence and period structures helps greatly to make clearly-defined sections.
Examples that utilize these concepts:
 

Okay, I'm sorry, but I've been here for quite some time and this is the most insane feedback I have ever seen on any music forum anywhere.
Whether you find his track "cliche" or not is completely irrelevant to making a quality track and in dance music in general, there are very specific basslines, sounds etc. that define the sub-genre in question and as such listeners expect to hear them and they also play to timbres strength. 
You actually recommend he undergo shock therapy to be "forget whatever he knows about music". For real? I don't know what you're smoking, but pass some of that this way.
ANYWAY
Here's a few problems:
• The bass synth is pretty cheesy. See if you can find or create a deeper sound with a bit more sustain.
• Timaeus talks about the lack of melodic contour. This can be solved by having using strong voice leading in your lines and correct utilization of non-chord tones. Here is a good list of the types of non-chord tones that create dissonance and how to resolve them.
• The lead synths sit above your voice, playing a different melody and this is a problem because our ear is naturally most perceptive to the highest frequency in the piece. As such, it's easy to lose focus of your voice and just start listening to the synth.
• Past the 1 minute mark, you have these low organ-sounding chords going on at the same time as that high synth, creating significant gap. Further regarding overtones, that synth is voiced considerably higher than your singing voice and organish patch. As harmonies are played lower, they should be spread out farther apart; as they go higher in pitch, they should be closer together.
You have a great voice, though! Keep it up man!

Okay, I'm sorry, but I've been here for quite some time and this is the most insane feedback I have ever seen on any music forum anywhere.
Whether you find his track "cliche" or not is completely irrelevant to making a quality track and in dance music in general, there are very specific basslines, sounds etc. that define the sub-genre in question and as such listeners expect to hear them and they also play to timbres strength. 
You actually recommend he undergo shock therapy to be "forget whatever he knows about music". For real? I don't know what you're smoking, but pass some of that this way.
ANYWAY
Here's a few problems:
• The bass synth is pretty cheesy. See if you can find or create a deeper sound with a bit more sustain.
• Timaeus talks about the lack of melodic contour. This can be solved by having using strong voice leading in your lines and correct utilization of non-chord tones. Here is a good list of the types of non-chord tones that create dissonance and how to resolve them.
• The lead synths sit above your voice, playing a different melody and this is a problem because our ear is naturally most perceptive to the highest frequency in the piece. As such, it's easy to lose focus of your voice and just start listening to the synth.
• Past the 1 minute mark, you have these low organ-sounding chords going on at the same time as that high synth, creating significant gap. Further regarding overtones, that synth is voiced considerably higher than your singing voice and organish patch. As harmonies are played lower, they should be spread out farther apart; as they go higher in pitch, they should be closer together.
You have a great voice, though! Keep it up man!