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Ytmh

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    32
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About Ytmh

  • Rank
    Octorok (+25)

Profile Information

  • Location
    Germany

Converted

  • Biography
    I live in the 21st century, yeah!
  • Occupation
    JOB? HA!

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Composition & Production Skills
    Arrangement & Orchestration
  1. Irony or not, as far as what other people say, it matters to me very little. Bringing up only a couple of examples is exactly what I meant when I said not every song in the entire project was made the same way. And, about publicity? If you're so careful about what you say about the project, as you say you are, why aren't you careful about what gets posted in the official website for quotes and the like as well? Do you think that it doesn't reflect on you, if you allow it yourself on the page (talking about Mr.Gluck's quote)? Might as well make up quotes saying it's fantastic, though what it sa
  2. It means that to me remixing requires one to have a direction, and an intention, and then see what stuff gets in the way and solve it. Say I want to remix the good'ol Mario 1-1 song, but I'm thinking here I want to do it for a string orchestra and do some other stuff with it. I have a lot of things to solve, which composition techniques am I going to use? Which form will the remix have? How far away from the original is it going to be? Should one be able to recognize the original easily or is that not so important? Because I also picked string orchestra as my instrument(s) I have to start also
  3. So, this project bugs me. I'm here, you know, totally thinking "Yeah, I loved FF7, and the music was nice. This will be fun at least!" and I sat down and listened to the thing. Sure, I got bored halfway through the first disc but I kept listening anyways. Nice production values, it's really trying to get that polished sound out and sure thing it does! It's very nice of everyone who participated to work on something like this and I appreciate the effort. My main beef is that it was hard for me to objectively listen to this as "just the music", because the whole "THIS IS THE BEST THING EVER TO C
  4. I just gotta add something to this. http://en.wikipedia.org/wiki/Musical_mode I think here it explains in pretty good detail how modes work and how they sound like. Generally modal scales have certain special attributes which identify them. It's generally an interval, or something of the such which gives the mode it's character. Modes were generally written back then for regular person's voice, so they don't feature many jumps and the like. It's also one thing that gives modal scales their character, when one sees the rather simple and scale-like movement by degrees rather than using jumps.
  5. In early romantic and viena classic styles the cadence is always ending in the tonic with the bass note the tonic. IE, no inversion. It's basically just how it was done back then, there are examples of otherwise here and there but the general case is that always the cadence must end with the tonic in root position (tonic in bass.) In the viena school it was very typical to see Dominant to tonic 1st inversion -> subdominant -> dominant > tonic root position, as a conventional cadence. Even so as repeating the last part various times for effect. (Look up Mozart's concertos for examples
  6. I do everything on Sibelius, and only do minor tweaks when I export the midi to Reason. Mostly it's just a question of properly working with the instruments in reason, but I try to have a finished presentable score of the music in Sibelius BEFORE I export it. I also can't really work with a piano roll, I HAVE to look at notes and stuff. Though I have tried it always ends up me writing it on notes to check what I want to do. Too much work for me trying to change it. Lazy companies not wanting to write good notation software for their sequencers. (Cubase's is hilariously bad, sonar's too...) Als
  7. Or, of course, you can throw out the window conventions and go from D7 (v7) to the Tp (relative minor) or Sp (2nd degree), etc. You can do tons of stuff from a septaccord. Of course, if you ignore the conventions the leading note can screw itself and you can modulate by cycle of 7ths. It really depends what type of music you want to go with. viena classic style is basically focused on the I - V - I "authentic" cadence, basically going through variations of such (IV - V - I, or IV - II - (dominant of the dominant 7) - VI- - V - I) etc but the last example is a lot more romantic. But in essence
  8. Well about the synth, I DO have much better string sounds, and I could as well do a little mastering and those johnsons. I honestly don't know if they'd dig it here, but well. It's sorta unlikely, but then again I have no idea if people submit these types of things often. Edit: Well hi thar http://iris.n-lp.com/music/Castl1mix3b.mp3 I did some fixing, so that's that. Too bad it's hard to get it just like I want it to without having real instruments. Oh well. Also I don't have a viola sample I can actually use without projectile vomiting.
  9. Well then. I had some time today so I threw this together: Edit: Original removed because oh god, but here's the better version: http://iris.n-lp.com/music/Castl1mix3b.mp3 And of course, the original: http://iris.n-lp.com/music/Castle%20of%20Illusion%20-%20Clock%20Tower.vgz A few notes about the original and what I did; mostly I took the elements I saw (such as the 3 effect notes during the A part) and elaborated a little bit on each of the significant elements. I didn't use anything too "out there", just a little free reworking of the same elements. I took advantage of the modal aspect of t
  10. What analoq said is pretty much what I had in mind. Not gimmicky, but stuff that works within the personal style and idea. I think that if I were to approach something, remix-wise, I'd probably try to see the possibilities I want to work with from the get-go. It's not because I can but because sometimes getting away from all the piano-pseudo romantic stuff and guitar solos is constructive. Also it may produce pretty good results. But then, what is it that sounds good and what is good music, I have no idea. Another thing about modern languages is that to a lot of people (a LOT of people) they s
  11. No. You don't have to like the track at all. But to claim the association to Marble Garden Zone is minimal by any theory is both irresponsible and inaccurate. At best it's bullshit, so I called it bullshit. That's nice, but regardless of what you consider bullshit or not, I stated my reasons. What can I say? I don't find any of the character (in terms of the melody for example, which in this mix IS different as it uses different intervals) from the original song in this, so to me they could as well not be related, and that's what I meant. What was taken away, in my opinion was what gave the so
  12. I suppose I should just say "OMG AWESOME MIX!!!!!!!!1" and get it over with, like the rest of this review thread eh?
  13. Hai guyz, I was wondering. How much acceptance people have to contemporary "classical" music? I was thinking that there is a certain lack of more modern languages in the music on this site and I was wondering if I could as well do something. So far, the problem is that basically I'd need to completely break up the song into elements and in the end build something new from it so it'd not be honestly a remix. It'd be an entirely different composition with basic elements taken from the original (tone material, maybe rhythmic elements, etc.) For example; the games that do use these languages (vagr
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