Hemophiliac
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Posts posted by Hemophiliac
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Quoted for the purpose of getting an answer. Here's an idea that just came to me. What if that dog was a test subject for the new software that Square Enix was developing for Advent Children? Maybe they did such a good job on that dog, that they didn't want to waste it.
symbolism for Zach, protector of Aerith that's all the wolf is.
at least that's what i think it is imo
also this isn't really the place for AC discussion...
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i beat culturekoi 2-0
i also beat Sega 2-0
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i beat kamoh 2-0
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happy birthday bro
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why is my name not added to the list?
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happy 21st! have a good time, make sure Andy pays for it all
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i'd say i was almost begged to join, but ok i'm in...but just so everyone knows, i probably won't be around very much very soon to play...this weekend i'm busy, and i'm leaving for Miami on tuesday; just to give a head's up.
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let's play tonight!
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i'm definitely in, i'm going sorceress just for this.
my account name is Hemophiliac.
oh btw it's going to be a mainly ice sorc.
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Basically, your royalties come down to how well you can negotiate your contract. The thing to keep in mind is that almost always, the studio that owns the game will own the music written for it, and it will say that right in the contract (The same applies to the movie industry). The studio needs to have control over how the music is used, and doesn't want to go to the composer to ask for permission every time they want use the music. If a term for additional SKUs has been included in the contract then the studio is free to use the music in whatever titles they want to without permission, but the composer will still be paid.
well also it depends on how much clout you have. if you're a nobody you're probably not going to be able to negotiate much, if at all about what you're getting. if you have a few titles under you belt, you may have a little clout. it really is all depending on where you stand there.
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i'm going to say that the composers that have made the music for games have done so as a "work-for-hire".
if that doesn't explain it, i'll elaborate
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lol...
I'm in of course.
yeah it's not funny, i say it because i'm going to miami for about a week during the week of the 5th.
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i'm in definitely, though hopefully we finish within 2 weeks.
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QFE
congratulations proph
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well it wouldn't really sound like G major, it'd be G whatever...since your starting note is different. you'd really have to hear some modal music to really see. there usually isn't anything in modal music to usually say "OMG we're in ___ Key", if you know what i mean. for example: non-functional dominant chords.
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ok first of all the notes in a triad are a 3rd apart. so g major is G B D.
modes are simply keys that have a different starting note, i'll use your G major since you're so comfortable with it...
G A B C D E F# = Ionian
A B C D E F# G = Dorian (starts on the 2nd scale degree)
B C D E F# G A = Phrygian (starts on the 3rd scale degree)
etc. etc.
if you're playing as you said you would not be in a different mode, you'd still be wherever you were before, G. Yes mixolydian has it's own scale however i would not say you were using mixolydian unless that D chord was a D13. the progression you wrote up there is perfectly tonal: Am(ii), D(V), G(I) and Em(vi)...a very common progression, does not make it modal unless something else unique was happening. something like a bass ostinato or pedal, emphasizing a particular tonal center.
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i have no idea what bar chords are because i'm not a guitarist, but i think it's probably safe to assume that the lowered note was the 3rd of the chord...ex: G major G B D, G minor G Bb D
the major and minor scales are not based on chords, but rather an arrangement of whole and half steps.
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F dorian or, G minor with a raised sixth
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no that's incorrect, the key of G minor is G A Bb C D Eb F...this is the natural minor or aeolian mode if you will.
the one you're thinking of G A Bb C D Eb and F# is G harmonic minor...with a raised 7th scale degree. (also note there is no D# it is an Eb, because there has to be one of every note in a scale).
the difference between G major and G minor would be a lowered third (B to Bb), lowered sixth (E to Eb) and lowered seventh (F# to F).
also i have no idea what you mean when you say "split"
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ok i'm forfeiting this thing, because i don't like how kamoh is running things. good luck to darkesword and rainman
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would you care to explain how the pairings were made? and a finally tallybox thing would be nice too if you could please?
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i have beaten arek 2-0
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hmmm i might have to say this might get rejected if submitted
ending is a cop-out imo, unless it's not over then.
there's no dynamic build in the track, when it ended it felt like it was still gonna go for another minute or two at least. use dynamics to help shape a contour for the whole song.
beginning feels like it goes on too long before anything starts to keep my attention it's not until 0:41 when i get something to follow, variation or a very light lead there could help.
1:21 transistion feels okish...i think a crescendo right before could really help there imo. 2:12 transistion is excellent, nice work there. 3:22 could use a crescendo right before it as well.
as a suggestion i think it might be better if for at least for part of the song you don't have the gating/arp effect going on the lead melody. i kinda got tired of that for a while, and it makes it feel as if it is not the lead.
so overall, very very cool, i enjoyed listening...just needs some dynamics now and a bit of work on the percussion mixing (they could probably come up just a bit in the mix).
good luck.
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as far as placement of the sections in the stereo field, i really found a few things to be much more sucessful then others.
get an image of an overhead shot of an orchestra, then imagine yourself to be either sitting center in the audience or standing where the conductor would be...using that as center. then pan according to how it may be if you were in the center there. i also found that reverb is crutial to the depth (how far away do some of the sections sound in relation to where you are). specifically what i mean, the instruments and sections that are closer to you will have a dryer sound then those that are farther away.
also i have to point out something that Jeremy Robson has been emphasizing myself to do... read scores. the more you look at the more you see how certain instruments have been used.
myself i've been doing the same as you, reading up on orchestration and i got myself this book: http://www.amazon.com/Technique-Orchestration-Recording-Package-6th/dp/0130771619
i've heard good things about the Rimsky-Korsakov book (the book that Garritan's site lessons are based on), and the Samual Adler book as well.
it's a good idea as you said you do...writing a 4 part thing and then trying to orchestrate that out. i hope this post was helpful.
OCR AG Tournament: Street Fighter Alpha 3
in Competitions
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i won 2-0 to Atmuh