RAZ3

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  • Content Count

    9
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About RAZ3

  • Rank
    Slime (+5)

Profile Information

  • Gender
    Male
  • Location
    The Lifestream

Converted

  • Biography
    Been making a variety of tracks within the electronic music scene for around 10 years or so. As with many, started with dragging samples in FL and then progressed into making fully original tracks in Ableton Live. Studied Music Production at University and now lecture Music Technology/Production at the College of North East London. Also dipped my creative toe into film sound(chiefly Foley & Dialogue)and creating original video game soundtracks for indie games.
  • PlayStation Network ID
    NovaRaze

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Live
  • Software - Preferred Plugins/Libraries
    Omnisphere, Nexus, z3ta, Toxic Biohazard, Vanguard, Kontakt
  • Composition & Production Skills
    Arrangement & Orchestration
    Mixing & Mastering
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Cello
    Piano

Recent Profile Visitors

1,034 profile views
  1. Ah, it seems you may have misunderstood the intention of my post. It was rather vague so allow me to elaborate. By 'networking', I do not simply mean 'hand out business cards at corporate events' or 'friend every composer on social media'. To do so in such an industry can be seen as both pretentious and desperate. However, it is also folly to sell people this rose-tinted version of 'being an artist' or 'being in it for the art'. Talent alone does not suffice in this modern age. Art itself does not put food on the table or keep a roof over your head. It may seem like a nice romantic idea when you are an angsty teenager still living at home but when you have left home and are faced with making your own way in the world, priorities change and bills need to be paid. The truth is that artists get where they are through a holy trinity of talent, business know-how and a good degree of tenacity. Most aspiring artists and composers will be told at least once in their career that they are not good enough. Give it up and get a real job. The difference between those who truly believe in their art and those who do it for the fame/money comes down to those who won't take no for an answer. And this is where networking comes into further play. (I might also add at this point that the saying 'Do what you love and you'll never work a day in your life' is a dangerous one and one that is frequently shared with this dreamy view of being an artist. It sets up false expectations that can be fatal to the aspiring composer. Its one thing to be inspired but another to be aware of the dangers on our path and how we might best avoid them) This site itself is a prime example of networking working in tandem with talent and tenacity. Aspiring artists post their work looking for peer feedback. Most will (lets be honest, this could also be read as 'should') take this feedback on with a good deal of humility and go away to hone their craft. With any luck, learning one or two things along the way. So they come back and post again, receiving more feedback and going away once more to tweak their work a little more. This goes on and on, post begat feedback, feedback begat change. Eventually they may submit their work to the OC judges and are either given the thumbs up or told to come back again another day. Once more allowing the circle to begin anew. And remember, this is just one example of networking in action. You say that artists need to stand out from the crowd and deliver something awesome and unique. But who and how do we decide that? We do through the sharing of information and opinion on social platforms, electronic or otherwise. Ultimately, it is what happens to work for the individual through their own process of research and a period of trial/error reflection. In other words, don't look to one person for the answer. Find out what works for you through the amalgamation of different views and experiences. There is no magic formula for 'making it'. Furthermore, I might add that teaching is not about giving the answers to a blank slate but rather facilitate the learning process so that answers can be sought out by the students on their own merit. I would prefer my students to be 'infuriated' with my answers, and go away to try and prove me wrong. This itself gives them the drive to find out the answers for themselves and ultimately come to their own conclusions. This, I'm sure you would agree, allows for a more holistic style of learning that benefits all those involved.
  2. I had one of my students ask me this the other day and my advice was simply 'network' (Well, it was more than that but that was the gist of it!). In this industry it can literally boil down to who you know rather than pure skill or talent. Self-promotion is also a crucial factor as whilst you could be the next Zimmer or WIlliams, no one will know who you are unless you put the effort into getting yourself out there. That's why its crucial that you get yourself an electronic portfolio of work together, be in SoundCloud, Dropbox whatever. Me personally, I have a portfolio of music/sound effect work on Dropbox that I link to prospective clients in my emails. If you want to get into game audio, I cannot strongly enough recommend Indie DB. Whilst it is primarily aimed at Indie game development, they also have a jobs section that has a mixture of paid and unpaid work. Its been my personal experience that some jobs advertisements can turn out to be pretty flaky but you gotta keep trying regardless. Start off with unpaid stuff, build your portfolio, and then start looking at paid work once you build up some reputation in the industry.
  3. This is pretty amazing both sonically and visually. I'll definitely be coming back to this for a few more listens. Great job!
  4. It sounds way too busy but at the same time, very simple in terms of the layers you have (if that makes sense?). I think its down to instrument choice. The piano is playing a maximum velocity all the way through so its constantly in your face. Try varying the dynamics of your instruments or try separating the parts of the song into more instrumental layers. The original is synth heavy so perhaps it just doesn't translate well into piano, virtual or otherwise. Theres also this horrible glitchy/buzzy sound going on throughout. Is that some synth layer you have going on or just an error in the bounce process? I like the original song and can almost see what you are trying to do but unfortunately it doesn't really work for me sorry!
  5. Some great advice has already been given so I'll try not to repeat anything. But heres my own personal impressions of the track: Pros Liking the pizzicato strings at the beginning. They don't sound overly mechanical or fake. What did you use? The laugh SFX leading into the beat is a nice touch. I've added a few FF SFX to my latest track and it always adds a nice nostalgic vibe.Shame we cant use them in proper subs The kick has a punch to it but as already mentioned, the snare can get a little lost when in tandem.Have you considered sidechaining some of your other instruments to your kick to give it a little more space? (Edit: Haven't listened to the newer version yet so ignore my comment about the snares if its been fixed) Cons Try to steer clear of overly used presets. Those in the know can pick them out a mile off. As soon as that synth dropped in at around the minute mark I instantly recognised it (Sytrus?)Quite like the glitch effect going on with it at points though. If you are not confident building sounds from scratch just yet, grab a preset and mess with some of the simpler controls (ADSR, Cutoff, Resonance etc) to make it sound a little more unique. Hell, chuck some FX on it and see what happens. Personally, I feel it can get a little repetitive. I think it may be down to the main melody synth that is consistently used throughout. Maybe a little automation on the synth controls for that instrument could have added a little more variety? Anyway, thats just my personal opinion. I really think there is something special to work with here and could be a really strong track with a little polish.
  6. Hi all, Would love some feedback on this please! I posted a real early version of this a couple of years ago and never really worked on it much more afterwards. Came back to it a couple of weeks ago and have made a few changes to both the arrangement and instrumentation. Could certainly do with some more work on the mixing side of things but feel its really starting to take shape musically. Oh, and for you FFVII fans, there are a few musical/SFX references dotted about the piece See if you can spot them all! Some are easier to hear than others. (Of course, the original SFX and vocal samples would be removed from the final edit should I ever submit this!)