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About JohnStacy

  • Rank
    Mudkip (+150)

Profile Information

  • Gender
  • Location
    Amarillo, Tx

Contact Methods

  • Website URL

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
  • Software - Preferred Plugins/Libraries
    Cinesamples, Default Logic Plugins, Fluid GM3
  • Composition & Production Skills
    Arrangement & Orchestration
    Mixing & Mastering
  • Instrumental & Vocal Skills (List)
    French Horn
    Saxophone: Alto
    Saxophone: Baritone
    Saxophone: Tenor
    Vocals: Male
  • Instrumental & Vocal Skills (Other)
    Jazz Improvization


  • Real Name
    John Stacy
  • Occupation
    Teacher/Freelance Jazz Performer

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3,058 profile views
  1. Thank you for joining the discussion! Since this thread happened, I've found a few new options. I still use Sibelius due to large assignments still needing to be done. After May, I'll have more downtime. I'm going to give Dorico 3 a shot. Mainly because although Dorico isn't a DAW, it has gained so many more DAW like features. Now it gives the option to edit midi information and other automation things with envelopes. So although you do still need a DAW for audio purposes, most of the midi prep can be done in the notation software, and a lot of the changes can be changed and saved with the symbols. A FP dynamic can be mapped to a specific velocity curve and saved to a CC value, then exported with the midi. When imported into the DAW, this takes care of most of the editing work that would need to happen in the DAW normally. So for the purposes of using notation software like a DAW, Dorico 3 looks to be the closest bet. It currently supports sample libraries, but their use is somewhat unwieldy. I'm fairly confident that by Dorico 4 the level of sample support will grow to a point when you can enter everything in notation, then do some editing in the same program, and have a mockup using samples that is much more efficient that ever before. Especially since it is highly likely that the template will be adjusted organically (assigning an accent symbol to automatically layer a staccato and legato patch at the same velocity). I wouldn't be surprised if this is already in the works, or does exist in 3 with some semblance of functionality.
  2. I am both an orchestrator and orchestral performer, so this is something I can comment on effectively. First of all, thank you for writing an orchestral track that isn't just the stereotypical cinematic "epic" horns blasting the whole time thing. You actually wrote an orchestration that captures the history of orchestral writing much more effectively than that. I'm absolutely horrible at reading piano roll, so I really can't tell you if that's good writing or not. Nothing sounds off, which is good. The textures are varied and there is a good management of register, which a lot of people tend to just ignore. However, the sample quality is low. If there were a reason it's not submission ready, it would be that. Listening to a live orchestral recording, then this back to back is a huge difference, almost jarring. The writing is fine, but the samples definitely are a loss.
  3. I can't listen to it now, but did you license it? Or did you just make it and release it?
  4. It is straightforward to learn, and does what it does well. For each tool or module, it is easy to tell what it is supposed to do, and the interface is highly responsive. Although it does have some automated features, it mainly is a set of tools that you have to use yourself. I would say that you could definitely learn it in a short amount of time.
  5. JohnStacy


    It's the day before Thanksgiving. I'm thankful for this community and the people in it. You guys are pretty neat.
  6. Since a lot of learning mastering is learning process and how to listen to a track, no plugin is going to make that much easier. Eventually you'll have to just learn the process. However, Ozone is highly effective. You'll be able to use it just fine with no prior knowledge, and as you learn more you'll get more out of it.
  7. For a project like this, a literal bass line would be more useful. I'm not sure if I know of a community of people who would benefit. It's a weird situation where I know that there are people who would benefit, just not directly. Similar to how I know there are nuclear physicists, but I don't know of a specific community, nor do I know any nuclear physicists. As for contributing to the VGLeadsheets, you can, but I will say that we are currently under a priority crunch to get as many of our backlogged sheets (we have about 50-60 of those currently) ready for the jamclinic at Magfest this coming January. However, starting in January we will be open to new submissions again. The reason for this is because we have an extensive, multiple step validation process for all sheets to ensure accuracy and readability. Our backlog right now is based on a series of frequent requests we've gotten over this last year for sheets to jam to. Send me a message and I can send you the communication links.
  8. This has been done before, to an extent. I think there's an online radio station that plays many things from OCR, although I don't know if it's still running and can't remember the name. Running something like Spotify is expensive. The infrastructure needed to run it is costly and difficult to set up. You need to fund server costs and licensing fees, provided the artists didn't do this themselves. As a result, most OCR content wouldn't be legal to stream. So you could make a free service to stream these things, and hope that you don't have legal action taken against you, or you could go through the proper channels, ensure everything is licensed, and charge either some or all users a fee to help cover the costs of running the service. As for the streaming itself, would you write your own streaming module? Or would you use one already written? You have to have some method to play the audio, involving either one very active developer, or a team of developers. Again, you have the issue of funding. Passion projects happen all the time - that's how winamp was started. And if you can find people to work on it in their spare time, you could definitely get a workable streaming platform. So to create a vgm streaming platform of only remixes? Great idea. But there is a huge amount of work and planning that needs to happen to make it a possibility, and even more work that needs to happen to keep it in a good legal standing. If a company that owns the rights to the original work being remixed comes along and tells you to shut it down, you have to shut it down. If you license all of your content properly, that is prevented, but that costs money which has to come from somewhere.
  9. Video game remixing isn't an industry because the concept of what makes a remix is very vague, and isn't agreed upon. If you define it as an arrangement of video game music and released for profit, there is an industry for it. The issue is that some people refer to it as "cover" rather than "remix." Go to youtube, and you'll find thousands of remixes posted frequently, many for profit. Some of the largest channels doing it make a decent amount of money doing it. Even more, there is a record label - Materia Collective that publishes arrangement albums several times per year. These are albums of remixes, but they generally aren't called that. On the area of copyright, plenty of people understand it just fine. The main bit is to understand is what a mechanical and sync license are. Pretty much everybody that releases VGM arrangements for profit on a large scale secures a proper license. Even then, most of, if not all of the OCR staff understand copyright on a functional level to make the site function and to keep the community in a safe place. So then I ask what you mean by enhance? I think it's going just fine. We have significant people that are working hard to advance the industry, in many different places. Would you suggest improving education on copyright? A centralized database of artists? I do have opinions about what I disagree with in the industry, but I generally stay quiet about them. I apply those opinions to my own work. Anime is a different thing altogether. Releasing anime music in the US is difficult mainly because of the much smaller number of soundtrack releases in American storefronts. Because of the smaller number of legal releases, securing mechanical licenses (for albums) and sync licenses (for videos) is much more difficult. You won't see many people releasing anime remixes for profit because of the legal risks involved.
  10. Hello! I am a contributor/staff member over at Over there, we are doing something similar, although it is more strictly based off of the real book in style, and aims to recreate the original music as closely as possible. That mentioned: Almost all of my concerns are due with readability and ease of use. I would find things in this format more difficult to use for most purposes than a standard lead sheet. The exception would be for arrangers. Having 4 staves, while good for being comprehensive, is not the best for sight reading in a group situation. I am part of the school of thought that when arranging or creating new versions of tunes, you don't need to use every bit of material for the original. For this, a lead sheet with just melody and chord changes would be more than sufficient. In jam settings, like the jamclinic at MAGfest, it is common to use the tune, but completely reharmonise it in different styles on the fly. This is not uncommon, and having the extra staves would be much more harmful than helpful in this scenario. But, as I said, something in this format would be a godsend for arrangers who like to have as much information as possible (or those studying the tunes for theoretical purposes). This is a much larger group of arrangers in the scene. I am unsure why you would use X noteheads for the bass voice. Originally, I thought it might just be the rhythm of the bass parts, then use the chord symbol to fill it in, but since the pitches are absolute, it makes no sense to use them as X noteheads. Accuracy of melody and harmony I have no comments on. You did a solid job transcribing the tune, and were accurate with the accompaniment figures. I have no doubt that you would have a high level of accuracy in the rest of the tunes in your book. The presentation and polish is also there. It is nice to see that a noticeable amount of effort was put into making it as clean and readable as possible. Nice work!
  11. Depending on your time scale, I may be willing to take on this project, but it won't be possible until June or July of 2020. At that point I can probably take on the whole soundtrack.
  12. Hello! I'm JohnStacy. You may know me from such places as this website and discord. You may also know me as a session brass player who plays for various video game soundtracks and soundtrack arrange albums. Today I come to you with an album from a group I'm involved in, that will release next week and is available for preorder right now. This album is Brasslevania, a fully licensed arrangement album. This includes music from several Castlevania games, Luigi's Mansion, Deltarune, and others. The description of the album does it justice, so I'll just paste that here: The Game Brass have teamed up again with arranger Thomas Kresge to bring you "Brasslevania: A Tribute to the Video Game Macabre"! Featuring some of the finest ghost, horror, and skeleton-themed music in video games, Brasslevania includes over 20 tracks from such classics as Banjo-Kazooie, Super Mario World, Final Fantasy, Pokémon, Deltarune, Castlevania, Grim Fandango, Resident Evil, Silent Hill, Celeste, and more. For this album, the quintet has expanded to a 9-piece brass ensemble and invited an array of special guests, including Mariachi Entertainment System, to the party. Equal parts spine-chilling, terrifying, and cadaverous, Brasslevania brings you the biggest Game Brass sound you've heard yet! I played french horn on this album, and am featured on a few tracks (mainly Voyager, Life is Beautiful, and The Grim Fandango Suite). The other guys who played are all my friends and we had a blast putting this together. On behalf of the Game Brass, I hope you enjoy Brasslevania: A Tribute to the Video Game Macabre!
  13. I do a lot of recording and work with a lot of people who record live, acoustic instruments. I can't really speak for synthesizers, or sampled instruments. For the most part, most of the people I work with are in consensus on this area. Basically, going above 48k for uncompressed audio doesn't carry enough benefits to do it for every project. Generally, since people recording for these projects use 48k, the end project file also ends up being in 48k. I have been asked to record above 48khz (the standard I deal with) twice. Once was at 96, once was at...192? That one was a pain because 192khz wav takes up so much space and transferring that monster took hours. The consensus with people I work with is that 48 is ideal for most purposes, 96 is great for blending remote sessions, and above that doesn't make enough of a difference to justify the increased resource requirements (hard drive space and processor power). One minute of 48k wav is about 15mb. One minute of 192k wav is about 45mb (3 times the size). If I'm recording a multitracked brass section of 4 trumpets, 4 horns, 4 trombones, and a tuba (like I do for some clients), for a track that is 4 minutes long, I'm going to be playing about 2 to 2 and a half minutes for each track. This is 26 to 34 minutes of audio. At 48k wav, this is 390 to 510 mb of audio on the hard drive, and in RAM. For 192k, this is 1170 to 1530 mb of audio on the hard drive, and in RAM. That is much more resource heavy. The difference in sound quality isn't big enough to justify that. If I were doing this for How to Save the World in 20 Minutes or Less (24 minute recording), you can do the math to find out how obnoxiously large that can get. I recorded that in 48k (and requested other performers to do the same) and the end result is definitely to my liking. So that is my take on it. Although higher sample rates are appropriate for some instances, I don't ever really use them because 48-96 is appropriate for almost everything I'm involved in.
  14. I have read the comments on the youtube, and one comment really stuck out to me that I think explains why it is so divisive, mainly relating to the philosophy of creating new arrangements of video game music. The comment, let me find it: So this is probably the largest difference in the way I process game music vs how I think others do, mainly in the general public who do not produce music actively (casual listeners). This isn't a right vs. wrong issue, this is really more of a perception and philosophy difference/disagreement. This is healthy and should happen in any community that isn't toxic. For the most part, game music for me is divorced from the game it comes from. I have been told on some of my previous work (back before I had an internet presence) that "this doesn't sound like a battle theme" or similar comments. At one point I did a stripper tempo swing version of Megalovania from Undertale. It went really slow, just to play up the sleaze. For the most part, it was *destroyed* by people who heard it, almost like I committed blasphemy. OCR is full of creative arrangements, but the whole line is accessibility. For the most part, if you did a calm, ending theme as an upbeat 80s synthwave track, nobody would really complain about it because they can relate to the style. Something much more classically oriented that's out of left field like this doesn't really give much to relate to (unless you listen to a lot of music in this style). It is kind of like listening to some avant-garde jazz and not enjoying it because you don't really listen to a lot of it and don't really "get" its nuance (I am like this with most of the more distant subgenres of metal, for example). When I do arrangements of game music, almost always I'm trying to do one of two things, and you can hear this from the things posted on this site. 1. Have some fun with a tune I really enjoy or remember fondly, combined with writing some fun stuff to play (Cazador, Journey Never Ends, unrelated but everything I do for Materia Collective falls under this category). This usually ends up being very relatable for most people. 2. Experiment and really push myself in something I'm not familiar with, or explore a style of music I enjoy (Protoman, Reflecting Pool, As Blew the Winds). These are mainly used to develop my skills, and I really don't give much consideration to the audience or making it an way that it means anything outside of itself. This is where the disagreement lies. So in the most sincere way possible, I REALLY don't care that the Mario fanbase wouldn't listen to this and be reminded of Mario. That wasn't the point. That wasn't even close to the point.
  15. You're right. Maybe I should just do it myself. I actually came to realize some things since I originally posted. When Unreal 4 was released for free I played around in it a bit, and watched some speed level design videos. I thought I wanted to make a game, got overwhelmed with how little I knew about game development and quit. I did like messing around with environments. Even before this, I was working on a game (got an hour of gameplay done) in RPG maker VX. Before that I finished a quest in Zelda Classic, but the gameplay was rather boring. People enjoyed exploring the world I created (there were single areas that were the size of the whole overworld from Zelda 1). I had much more fun doing level design than anything else. Essentially, every time I wanted to sit down and make a game, I got swept away in the visual aspect and designing the world. The end result was basically a playable movie with a good soundtrack (music composition being the other area I would focus on). Yesterday, I came to the realization that I never actually wanted to make a game. I just wanted to tell a story. I'm going to embrace this now. Do you have any tips of how to start?