Ridiculously Garrett

It really just depends on you as a person, IMO. I don't think I'll ever switch from FL Studio because it just clicks with me, and I find the stock plugins (compression, EQ, etc.) to be fantastic on there own (Though stock plugins on any DAW are going to be good) You're just going to have to do a little searching to find good samples and sounds unless you just want to make electronic music. It's great for that.
 
But this may be different for you, you may prefer Reason, Studio One, or even Pro Tools if you're doing a lot of recording.
My suggestion is to pick 3 separate DAW's that interest you, and then download the trial versions of all of them. Find what clicks with you the most (What you enjoy using the most), and then stick with that DAW. Learn the ins-and-outs, the shortcuts, the tricks, etc. and learn a whole lot about the mixing process and what everything is doing to your mix. (especially EQ and Compression). I can guarantee you that if you find a DAW that you really like, you won't ever have to switch around. BAD IDEA, unless you're using something like Garage Band, you'll probably want to upgrade that eventually. You can still get great mixes out of it though

Last summer I had much more free time than I had ever had before.  As a result I decided I would begin work on a youtube channel producing arrangements and remixes of video game music for (french) horn ensemble.  I would write the arrangements, then record both video and audio, do editing, and have a video ready to be released on a regular schedule.  Not long after starting, I decided that keeping a regular schedule would be more work than I could do as my free time would quickly run out.  Quality was selected over quantity, and I would save these arrangements for future use, possibly on OCR.  I wouldn't get involved with the OCR community until December of 2016.  My first submitted remix to the site was a success, so I figured out I had found a home here.
As a horn player, I've been told by so many people that the horn is a classical instrument, and it is not possible to play in other genres.  I then proceeded to play professionally in a jazz ensemble, rock band, funk group, and other non professional ventures in other genres such as a gospel choir and mariachi band.  I am not the only horn player who has done this.  However, the view that the horn is a strictly classical instrument is still very common, and I believe that it is a very limiting viewpoint.  There are many horn players who do not feel they are capable of venturing into new areas because they do not think it is possible, and there are many more who want to venture but are held back by teachers, peers, etc.  I was told that I couldn't play jazz, a genre I was raised on, and the horn was literally taken away from me when I tried to play.  They told me I ABSOLUTELY HAD TO play on trumpet or trombone, then when my skill level was so much lower than it was on my primary instrument, basically told me that I was no good at jazz.
I want to contribute to the solution of this problem.  My contribution will be a series of arrangements for horn in many genres.
This is where the community comes in.  As it stands now, I have 4 arrangements that are complete and awaiting recording, and others that are in various stages of completion.  I would like to make a whole disc's worth of music, however I would definitely not object to having two or more.  I am looking for collaborators on this project.
What is the purpose of this project?
The purpose of this project is to produce music with the horn as a central feature.  One of the arrangements being recorded is a rock track.  There are 8 horn parts, and a collaborator is recording guitar, bass, and drums.  I recorded all the horns and programmed piano.  The horns do most of the heavy lifting when it comes to presenting themes.  The other instruments are primarily support, however they are invaluable for the end product.  For a different track, it would be different, such as working with a vocalist.  If that were the collaboration, they would be the primary feature, with the horns supporting.  I am a little split at the idea of having a solo wind instrument other than horn as a feature, however I am open to suggestion.  After producing this, there will be a body of work that can be referenced to say "Yes, the horn can do that, and yes you can do that too!"  Or for arrangers, composers, or remixers to see what is possible and create new works inspired by this.
What would be needed from a collaborator?
There are two ways to contribute; as an arranger or a performer.  Arrangement contributors would write the arrangements to be performed.  Most of the work would be left to the collaborator, and I would edit minor details as needed for playability or effectiveness.
Contributing as a performer could involve arranging as described above and also performance with the voice or another instrument.  Performers would be highly encouraged to participate in the arrangement process to highlight their strengths.
Non musically, an artist to design artwork for the album would be needed.
What genres are possible?
Many genres are possible.  Due to the nature of the project, some genres are more difficult than others.  For example, predominately electronic genres such as EDM or dubstep that are driven by synths would be much more difficult to keep the acoustic horn as a central feature.  However, if those genres could be made to feature the acoustic horn I would be more than happy to oblige.  I have performance experience in jazz, rock, funk, gospel, mariachi, country, and others, and have worked in even more genres not as a horn player, so gaining familiarity would not be much of a problem.
I am looking at the London Horn Sound albums for reference. 
I am excited to work with people on this project, and am even more excited to see what can be produced!

Yeah, with that pad that's in there, I tried to make it as open and airy as possible as if it'd be the wind from the ocean or something. Given this is a relatively short source, I'll probably do some sound design changes and more ambient stuff further along. I did some more editing on it but nothing overly substantial yet, so I'll update it when I get more of it done. I had an idea of, because there's so many different parts, doing some call and response thing between the different bell stuff and what not.

For me, a huge transitioning tool is, like some people already mentioned, is in the drums and sound design. Using the drum fills, and of course taking sounds out and possibly replacing them or adding them back in, this time with an evolved rhythm/chord progression. 

There was someone in one of my classes who was a complete nerd (obviously accepted). But he came into class one day with poke ball headphones (which he said were a bit small). And then he pulled out some pokemon sun and moon Z crystal or whatever bracelet thing. And he was like, "Yeah and it cuts off the circulation." I do not think he realized that when he bought that stuff from Toys R Us, most 19 year olds don't buy that kind of stuff. Because they're made for kids. And he's 19. Shopping in Toys R Us. But he came into class acting like he was all rad because bought this stuff. :/
 
That's what this situation reminded me of anyways. Kinda sad to see.

There was someone in one of my classes who was a complete nerd (obviously accepted). But he came into class one day with poke ball headphones (which he said were a bit small). And then he pulled out some pokemon sun and moon Z crystal or whatever bracelet thing. And he was like, "Yeah and it cuts off the circulation." I do not think he realized that when he bought that stuff from Toys R Us, most 19 year olds don't buy that kind of stuff. Because they're made for kids. And he's 19. Shopping in Toys R Us. But he came into class acting like he was all rad because bought this stuff. :/
 
That's what this situation reminded me of anyways. Kinda sad to see.

Highschool? With that habit of Capsing Every First Letter it looks like he's passing through gradeschool, at best.

*apologizes for pestering*
 
*pesters about remix again*

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?"

Recently, a mix I posted back when I knew very little about production was just recently reviewed by the judges, and I'm fixing the issues that were prevelant. Knowing what I know now, I hope I can fix all the issues and resubmit it.
Reviewed Mix:
New Mix (In fixing progress):
The Boss is Back in Town ReMix
Source:
If anybody could compare the original to the new remix and see if you think I improved on the judges critiques or not, that would be awesome. Thanks to anybody offering insight! (I'm not done with arrangement or production just yet.)
 

Ok, your post reads like you're misunderstanding MIDI controllers. A MIDI controller is any device (not necessarily one that has keys! Things like the Korg nano series don't!) that sends MIDI data. In today's market, virtually every keyboard of any kind sends MIDI data, except perhaps super-cheap entry-level Casios or something. Obviously, check if any keyboard that you're interested in sends MIDI (through a standard 5-pin MIDI cable or over USB), but probably that won't be an issue. Something billed as a MIDI Controller will *only* send MIDI data, and may have a lot of other knobs, faders, and buttons that send various MIDI messages, while with keyboards, it can vary quite a bit. The two weighted keyboards you showed will probably send note and pedal information, but the buttons they have are likely more for controlling the built-in sounds rather than sending MIDI messages.
 
Should you get a MIDI controller or something with built-in sounds? That depends entirely on where you want to play. If you're only ever going to use the keyboard in front of your computer, than built-in sounds don't matter; if the keyboard you buy happens to have them, great, but to actually *record* them, you need additional hardware anyway. If you're going to play anywhere else with the keyboard (and also use it as a controller), then built-in sounds matter much more. Then again, $500 or so is going to get you a keyboard with pretty crappy built-in sounds, and the same money spent on software sounds will get you much better quality. Or, if you really want to be playing away from your computer as well as recording things, I'd look at something like the Roland FA-08 or Yamaha MX-8 or MOXF-8 for a moderately-priced workstation keyboard that will have a large quantity of good-quality sounds and also work just fine as a MIDI controller. Yes, it's more money, but it's worth saving for unless the ONLY thing you can EVER afford in the next few years is a lower-budget keyboard.
So, before you go looking at keyboards, you need to decide: weighted, semi-weighted, synth-action, or don't care? (Sounds like you only want weighted). Built-in sounds or not? (If so, will you be recording them? And do you have an audio interface to do that? If not, you'll need to get one. If you don't want built-in sounds, do you have, or will you buy/find free sounds/find sounds bundled with your DAW, the sounds you need?) There might be cheaper weighted MIDI controllers than the ones you linked. I'd figure out why you think you need a keyboard vs. a MIDI controller, and what you want to do with sounds.
Also, unless you're in a rural area and you really can't get to a local store, I wouldn't recommend buying a keyboard based on what you see online, especially a keyboard with built-in sounds.
 
Given this, I don't understand your questions about getting a MIDI controller down the road. Buy any keyboard, with sounds or not, that has MIDI capability and you're set, and if you want some extra knobs and faders, you can look to a second, small, device (the Korg nanoKontrol is great, for one example).
 
The DAW that you should use is the DAW that you feel most comfortable with. All major DAWs support MIDI. Some are a bit better or worse than the majority, but pick your DAW based on what makes sense for you, and you'll find that the MIDI support is good enough.

Hi everyone!
I thought I'd post a thread in here to make it official that the OC Jazz Collective is currently working on their second ABSOLUTELY FREE OC Remix Album! The entire crew from Chronology returns to bring you some more jazz, this time in the form of a tribute to the Super Nintendo Entertainment System. We've got some new faces on board as well and as per usual are open to arrangers who would like to submit their arrangements for us to record! Currently we do not have a working title for the album but we will keep you updated with this thread as we progress! Looking forward to bringing you more music!

-Currently seeking visual artists!
-Currently seeking arrangements! 
 
Musicians
XPRTNovice- Alto/Soprano
Anthony Lofton- Tenor Sax
Sir Jordanius- Trumpet
John Stacy- Horn/Trumpet
Fratto- Trombone
DrumUltima- Vibraphone
Nostalvania- Piano
Andy Pearce- Guitar
Jay Yaskin- Bass
Wiesty- Drums

Arrangers
Wiesty
Nostalvania
John Stacy
Amphibious 
Protodome
Fratto
Jorik Bergman
 

THANK YOU!
Now I can make GB remakes!!!!!
Without using soundfonts!
I might even manage to get some up tonight....Who knows...
 
Oh wait, it needs the full version....
 
Noooooooooooo

First story video set in the fictional cybersoccer universe that ties together several of my albums, including an announcement at the end:
 
 

Cool mix! I love the mixture of vibes here. I love it when an old standby gets a new and unique treatment. Definitely a solid arrangement of my second-favorite DKC2 source (I like Forest Interlude ever so slightly more than Stickerbrush Symphony; it's super-close). Nice Work.

Oh wait lol wow, I'm sorry, I didn't realize you updated it, ignore my last comment, I didn't listen to the updated version. Sorry lol, didn't realize until just now lol.

Hi,
Thanks a lot for your constructive feedbacks !
Concerning the arrangement, I'm totally agree with you, I didn't change anything, but this is a choice, because the original chords and arrangement are just so beautiful, I didn't want to "destroy" this masterpiece.
Concerning the volume of the chords at the end, yes they are too loud you're right, i'm not that good at mixing at the moment, still practicing
Anyway, thanks a lot.

Hey guys! Just looking for some general feedback on this remix. I'm at that point where I'm not too sure what else to be adjusting / paying attention to. I feel like the arrangement / mix are in pretty solid spots, but I usually end up forgetting about / missing something. Always good to have another pair of ears. Of the top of my head, I know I want to go back to a few of the synth parts and make 'em a bit more entertaining to listen to / more dynamic. (Also heads up, I think listening to the stream on box distorts the sound a bit)

Thanks in advance for your time.

https://app.box.com/s/a2gcbj5uau85sn6mlx0kb5xog16dscm5

Hey everybody, here's a major update. Short term sad news, long term good. My time has been waning a lot recently, as you've probably noticed by my lack of posts. The majority of my input has been behind-the scenes, while my glamorous assistant @Trism has been dealing with the front of house, as it were. Unfortunately, as things stand, my handle on the little I've been able to do has loosened a lot now as well. Without going into too much detail, life just has a way of making things impossible sometimes and priorities are thrust upon you rather than letting you choose your own.
THEREFORE: Rather than let this project and all the fantastic work you've all done so far slip into obscurity, I've decided to hibernate it for the timebeing. I figure that voluntarily putting a pin in it while I clear my theoretical desk is  a far better option than let the ship run adrift without a captain at the helm.
Thanks for the support so far, folks, we WILL be back. This is just something that has to happen for now

For me it had to be the AT-ST fight on the second level of Star Wars: Shadows of the Empire for the N64. I've since beaten it, but as a kid, I could never do it. It was the hardest thing on the planet, coupled with the poor camera and looser controls.

For me it had to be the AT-ST fight on the second level of Star Wars: Shadows of the Empire for the N64. I've since beaten it, but as a kid, I could never do it. It was the hardest thing on the planet, coupled with the poor camera and looser controls.

Sure, start with sheet music. Some of us do. Some of us use our ears and guess. Some of us download a midi file. It doesn't matter what we start with. It only matters what we end up with.
If you're just starting out, it doesn't matter anyway. It'll take you a while to get good at this stuff, so anything that helps you is a good thing. But once your skills are on the level where you can get a remix approved by the panel, you might find yourself limited by starting from something too similar from the original. This applies to sheet music, midi, and your own transcription of the original. Doesn't mean you can't do it, just that it's more difficult to make it your own arrangement. But it's a later concern. Just get started and have fun.

Good stuff so far, Nostalvania. I expect no less from you lol.

Hi everyone! I'm currently working on a remix of DDD from SM64. I actually played the melody from memory, so it might sound a bit different than the original.
It's still unfinished (hence the abrupt ending lol). I didn't do much in terms of mixing, so i guess it will need some work in that regard too.
Box: https://app.box.com/s/l0b26bqyw6gr0se4krj9anyemwrnw1e1
Soundcloud: https://soundcloud.com/karmus24/dire-dire-docks-remix-wip/s-BSAl
 
 

Sounding really good! Something that I'm hearing would be a little variation in the piano part; maybe some arpeggiation of the chords here and there, or some flourishes or changes in rhythmyc pattern to keep it from getting monotonous. The guitar could also use some compression to even it out, but like you said you're a ways off from mixing stages, so I'm sure you know that already.  I really like the breaks at 1:28, etc. and your chord voicings over all; really gives a new flavor to the tune.