JohnStacy

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    88
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  • Last visited

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About JohnStacy

  • Rank
    Dan Hibiki (+75)
  • Birthday 12/09/1992

Profile Information

  • Gender
    Male
  • Location
    Clarendon, Texas

Contact Methods

  • Website URL
    www.johnstacy.net

Artist Settings

  • Collaboration Status
    3. Very Interested
  • Software - Digital Audio Workstation (DAW)
    Logic
  • 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
    Trombone
    Trumpet
    Tuba
    Vocals: Male
  • Instrumental & Vocal Skills (Other)
    Jazz Improvization

Converted

  • Real Name
    John Stacy
  • Occupation
    Teacher/Freelance Jazz Performer
  • Facebook ID
    thejohnstacy

Recent Profile Visitors

1,974 profile views
  1. This happens all the time for many different people, so you're not alone by any means. A thing to remember is the amount of exposure you have. Find a recording you didn't have anything to do with. Listen to it 100 times, and tell me you still like the sound of it as much as you did the first time. With the best made recordings, you will to some extent, but most likely not. Also, you know what your shortcomings are, so when you hear them over and over again it just kind of solidifies the idea that you have those shortcomings. People who have not heard them over and over may not even notice. For the most part, nobody will put a recording on as many times as you did making it, regardless of quality. It's also important to take into account that your tastes evolve. Sometimes you'll love something, then come back to it in a few months and hate everything about it (I can't stand to listen to my earlier work, or performances because of how much I've grown as a musician since producing them). This just means what you see as good or ideal is changing constantly as is normal. This one can be remedied by doing more listening. Music isn't as original as people think it is, and you can use this to your advantage. When working on a track, if you struggle to find out where to go next to finish a track, find somebody else who expressed the same sentiment you want to. I work with big band arrangements quite a lot, and most of the time I do more listening to others' writing than actually working on the track. There are tropes and idiomatic ways of writing that are common because of how solid they are. Don't steal them note for note, but do think critically about why they work or don't work, and see how you can apply that to what you're working on. You mentioned piano solo, I actually have the scores of all of Debussy's solo piano works handy for whenever I need to write a solo piano piece. "I want this musical idea, how could I express that? How did Debussy express a similar thought, and what textures, harmonies, etc did he use to do it?" In a jazz style I'll usually defer to solo performances mostly by Makoto Ozone and similar pianists. Don't think of it like you're piggybacking off of other musicians. When learning to talk for the first time, you didn't learn to talk in a vacuum did you? All you're doing is listening for musical vocabulary to enrich your own. I get this one entirely. I only use the default sounds that came with Logic, mainly because I can't be bothered to get anything else that isn't free. As a result I do as much with live instruments I can, which is why my music typically uses so much french horn and other brass (I'm a professional french horn player, and I have access to a good recording setup for that). I also do a lot of jazz, which samples do not do well. That said, there are all kinds of really good free sounds. An example is the Sennheiser drum library (Drummic'a) that was released for free as an advertisement for their microphones. It's definitely a solid drum sound that works for many things. You can find these things if you look hard enough. A lot of music composition and arranging is knowing how sounds work together, and the limitations of having bad sounds can spur creativity of how to work around them. More easily said than done, I know. But in college there were several times where we would have assignments like "this is a saxophone player who only has an octave of range that sounds good. Write a solid piece that takes advantage of that. Production concepts are universal. Generally basic things like compression, EQ, and reverb, and even non plugin things like musicality, balance, and arrangement used correctly can do a lot for a track. If you get solid with these fundamentals, you'll notice your sound will get better just because the sounds you have will work together better. So a really easy way to find out where to go next is just focusing on one shortcoming that you have, and learning about it. If you have a mix that sounds very loud, muddy, and noisy, look at balance and separation. If you have a mix that sounds very stale and robotic, look at humanization. If the mix lacks energy and seems very static, look up textures and orchestration techniques that can add variety to a mix. Alternatively you can sit down and say "I'm going to really nail this style in this track." Let's say you wanted to write a solo piano mix in the style of Joe Hisaishi. Do a lot of listening and transcribing solo piano works he's written (there are a lot of them because he's Joe Hisaishi). Then when you sit down to write a thing, basically take note of what characteristics he uses in his writing, and see if you can use those in your writing so that your track will sound right at home among other Hisaishi tracks. Listen, analyze, apply. Then, once you have that one, move on to something else. This applies to any style or genre. Gradually, as you do this more, you will get better and better at it and will notice that learning comes much more naturally based on what you're interested in.
  2. May I have Ruby Sunrise?
  3. JohnStacy

    Madoka Magica cover - "Make a Wish"

    Watched this with Lauren. Her thoughts: The instrument choices pair well with the sentiment. Almost like a music box kind of way. They also complimented the voice well. The style of singing had a lot of movement without being complicated. My thoughts: This reminds me of an album I used to listen to when I was very little (I don't remember who it was or what it was, but I remember listening to it). I am very unfamiliar with the anime (I just don't watch much anime), but it seemed to go very nicely with the video. Overall, the style of playing matches the style of singing quite well.
  4. Actually I got two Paper Mario mixes in the works right now, both from the original. Maybe might have a 3rd down the line, but I just have these two as part of my youtube project. I won't do the entire soundtrack, I'm just picking my favorite tracks, but I hear your request and will answer.
  5. Anytime somebody does an orchestral setting I get a little excited. Orchestration is very nice. There are a lot of good textures in use, both from the original setting, and with your personal choices. The first statement of the ocean theme at :41 I think could have a tiny bit more action in the strings. They're just basically pads in the original, but for an orchestral arrangement, I don't think some added counterpoint would be unwelcome, simple things when the melody is sustaining. Again at about 2:00, there is plenty going on in the brass so you don't need to make it more, but a slightly varied higher string texture. The only reason I bring this up, is that lack of motion in the original bugged me just a little bit. This is a tiny nitpicky thing. The field theme is well done. Transition to the sky theme, that would be breathtaking to hear live. A thing I do in noteperformer is basically do 3 string layers. One layer that is an ensemble, one layer of solo strings playing exactly the same thing, but down a dynamic level, and then a layer of short notes on the attacks, also down a dynamic. I focus on the notes that would be a downbow when performed, and give those a marcato accent. This is not needed in softer passages, just the heavier ones. You can then hide those extra staves in sibelius so that your score doesn't get cluttered. This is a small little thing that works wonders for the sound. If interested, I would enjoy recording horn for this. It would be fun.
  6. JohnStacy

    OverClocked ReTreat

    I can probably help with the organizing thing. Deposit would be out of reach for me right now, but as far as handling organizing how this thing will go, I can at least contribute. (Plus I'll see if I can get some good BBQ catered for a meal while we're there if I do contribute)
  7. JohnStacy

    OverClocked ReTreat

    OH GOD YES DO IT IN TEXAS. Actually Fayetteville is a nice area. I would warn that during the summer it can get pretty miserable down there due to high temperatures and high humidity, but it's generally somewhat nice. If we're opening up to this state I can look around as well and see what I can find.
  8. JohnStacy

    OverClocked ReTreat

    Going to follow this to see what the cost situation will be.
  9. JohnStacy

    Does anyone even really read this subforum any more?

    I read through it occasionally to see if there are any tracks that I forgot existed and am like...hey I should totally do the JohnStacy thing on this track, but for the most part I don't go through and listen to every request due to lack of time.
  10. JohnStacy

    1. work-in-progress Ocarina of Time Title Theme

    At the beginning, the electric piano I think could have some panning. My first keyboard was a portable grand piano, and one of the electric piano presets had it oscillating from left to right and it was a pretty neat effect with the tone of the piano, which was similar to what you have at the beginning of the track. You have this lead guitar kind of sound a little bit into the track, I think it's just a tad bright (maybe a midtone sticking out) and it's a tad jarring at first. The swelling guitar that happens is very effective tho, definitely keep going with that.
  11. JohnStacy

    Super MAGFest 2018

    I'll be there.
  12. JohnStacy

    Ads on OC ReMix YouTube Channel

    Not sure what is needed of artists, but I do consent to having ads on videos with my content both past and future. A bit out there suggestion, maybe add and remove ads in batches depending on need. If costs to keep the site going go up, increase the amount of videos with ads from a pool of people who consent to get the needed amount. If costs go down, do the opposite. Use it as a secondary source of income that varies depending on need. Unless the metrics of $25 per day come from the week when all ads were enabled. Then maybe use the whole pool of people who consent.
  13. My initial thought is that this is way too close to the original. Anytime somebody presents a version of this track I get excited to see what they would do with it. This version, although it uses orchestral sounds, I would not call it an orchestral version, since it doesn't really take advantage of the orchestral idiom. It seems like the original theme was just put note for note into orchestral samples. What I would do: Listen to epic orchestral music. Original music. Listen to compositions by Mahler, Bruckner, or modern film composers. Get a feel for how they write for the orchestra. Have an idea for techniques and colors that generate new moods. For example, your track uses a lot of everybody playing all the time, which loses the effect very quickly. Think about movie scores. If something intense is happening, is the whole orchestra playing the whole 10 minute scene? Or are there moments of low energy, low volume to contrast the big sections? Also think of it from the perspective of a player. If I had to play this track, rehearse this track, it would gradually wear down myself and the other players because playing loud like that the whole time is quite tiring. It also would get very bland really quickly, because even really good musicians can have a difficult time making something out of a part that has an FF dynamic the whole time. Look at the form. You have a verbatim repeat of the form from the original tune. It has the same melodic and harmonic bits as the original in the same order. For something to be epic and orchestral it should have a form and developments that build energy. Imagine a slow beginning. Low energy, even menacing. From that it builds to something huge. Orchestral music builds off the classical orchestral idiom. A lot of colors/gestures/etc that are used in modern orchestral writing usually came from the symphonies, tone poems, and operas of Mahler, Strauss, Bruckner, and Brahms. As well as numerous other composers. If you are going to produce something in that idiom, pay your dues to where the idiom developed from and it will come out much more convincing, and as a result much more effective. I made a post about this particular theme and how it works in arrangement in this thread. Feel free to read up on it there, as I go more into idiom and genre crossing.
  14. JohnStacy

    Not cool bro panel.

    Click here to join the discord I help
  15. JohnStacy

    Not cool bro panel.

    On the thought of communities who don't have bars, they do have coffee shops. I'm part of a small community that is growing and attempting to establish itself. It will remain unnamed. I'm doing some arranging for them, but mostly just being a brass player recording for people (I guess that describes my involvement in many communities at the moment). They have a bar, kind of, but it's really low. I was used to OCR and the way they did things, came to this new one, and recorded for a guy. I knew I wasn't the only one recording, but what ended up happening in that track was just playing all the recordings as they were sent on top of each other. It sounded very weird because one of them was recorded in a tiny room, and one in a much bigger room. And those differences were really pronounced. There were a few tracks that were this level, and while it wasn't bad, it was very unrefined and unpolished. On the other end, it still is kind of weird that there will be check ins on progress and for the most part, people won't start their tracks until a week or less before deadline, and the end result sounds like they threw it together last minute. However, it will still be sent out. The majority of this community is producing good, well polished content, but there is that lower end that just seems to be winging it constantly and still passing the bar. OCR I don't see as a gated community tho. I see it more as a community that wants to present well polished works of a certain variety. It's not that you have to pass the bar to be considered good, it's more like there's a certain type of production that is wanted.