Hemophiliac

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.

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.

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

yeah it's not funny, i say it because i'm going to miami for about a week during the week of the 5th.

i'm in definitely, though hopefully we finish within 2 weeks.

QFE congratulations proph

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.

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.

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.

F dorian or, G minor with a raised sixth

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"

ok i'm forfeiting this thing, because i don't like how kamoh is running things. good luck to darkesword and rainman

would you care to explain how the pairings were made? and a finally tallybox thing would be nice too if you could please?

i have beaten arek 2-0

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.

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.

qfe, i was about to say the same

The OCR Moves League hamachi server is full it says, and i cannot join it...wtf? also JohnderriLLL vs. Hemo 1-1

1-1 to Rainman DX

about damn time, i'm in... go find darkesword now so he can rape us all again.

very cool so far, quality is pretty good too. introduce your new material/your own spin on it so you can really take this places or submit

it doesn't have to be something in a genre already similar to big band or swing for that matter. however i do like the suggestion of sm64. we'll see what else comes up

ok guys i'm looking for suggestions for a song to arrange for a 10+ piece big band. reason why i ask...i have an arranging class in which i'll be doing this for. so far i haven't really been able to make up my mind on what i want to do, so i figured since i wanted to do a vg tune i'd ask here. i am also planning on sequencing and submitting the track if i feel it to be satisfactory enough i would also appreciate it if when a suggestion is made that you could possibly link me to a place where i could hear or find said tune. thanks!

hey guys looks like we got something from the amv project, i just saw this posted: it's Hangarmageddon pretty damn cool i must say (also since i just found this was posted earlier...apparently this is a final version)

i'm not sure this would pass the site standards for a few reasons (dunno if it was even planned on submitting or not): - very mechanically sequenced, little to no humanization...add more variation in the velocities and attacks of the notes. dynamic variation would also help greatly, it's mostly a solid dynamic all the way through the whole piece. - most of the arrangement is structured very similar to the original song. add more material to this sucker -i really hate bitching about samples, but the brass needs some helping. -a lot of stuff here sounds very dry too...reverb could be most welcome things i liked: -the sfz on the brass -the percussion is well done, good brush work -not often you hear these kinda solidly composed brass parts happening -the piano is a great idea (the actual humanization and sequencing just needs some work) -intro is cool, probably would've been a better idea to give the bass to a cello or just the bass used later in the song...also the choir...wtf cool 1:25 - Blues much? sorry you don't have the source file, but maybe if you do future projects this might be of some help. definitely a fun listen