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Everything posted by Sil

  1. Sil

    Lufia: Of Gods and Men

    I can do Rumbling if you're looking for a simple orchestral arrangement.
  2. Isn't the chord in question Gb7/Fb? (Gb7 with an Fb in the bass?) This sounds like it's the first half of the common pop progression that would go: Fb Gb7/Fb Ebm7 Abm Because that's a lot of flats, transposed to A minor it would go: F G7/F Em7 Am The two chords in the DT song at 12:04 sounds like the first two chords of this progression.
  3. Are there any plans for a soundcloud-like ability to upload WIPs directly to the site in order to springboard ideas off of the community? Perhaps something with version control to make project WIPs more manageable (ideally with private and public settings.) I always thought it would be neat to tag timestamps in the waveform with constructive criticism. I think it would motivate people to give more feedback and finish more remixes. It would give newbies more opportunity for learning while letting experienced remixers show off what they're currently working on. At the very least it would help me remember if I committed to any projects that have been in the works for the last few years.
  4. I'm really loving the ELP influence in Demon, Fiend & Goddess. That and the Queen-style rock opera in The Impresario and the Morricone-style spaghetti western influence in A Fistful of Nickels make me think if Uematsu ever hears this he's going to be like "Yeah, that's what I was going for all along." It's crazy how he had this all figured out 20 years ago back when many of us were in grade school. That to me is true genius.
  5. I'm interested to know what happened there. Is there some backstory?
  6. Lol, we wanted to show off two of the faster bits, so I guess it's easy to conclude the entirety of the 12 or so minutes might be similar, but it's not. There are plenty of tempo changes and I can assure you that the first part of the piece is very much the march we all know and love, and then it undergoes several variations and transformations.
  7. Instead of long sustained notes for the harmonies, you should have all the instruments play the same rhythm as the snare. There's really no reason to have sustained notes in a march. If this is a piece for beginners have all the low brass (trombones, euphonium, tuba) and bari and tenor saxophones and other low winds (bass clarinet, bassoons) play the same rhythm in two octaves. This will give the performers the confidence to really get into their parts and make the piece sound great. The timpani can play the tonic in the same rhythm until the harmony reaches the dominant. Once you've established a strong rhyhtm you can play around with the notes and start to add counterpoint (if you want.)
  8. I got the abrupt transition idea from listening to the 3x3 Eyes OST. I wanted to get a soundtrack-ish feel without having to make two separate tracks, but that's kind of what it is in the end.
  9. It's been a while, but does anyone have the gig file I made (suzu.gig)? I forgot to back it up and I need it for a project I'm working on.
  10. That chord build up (called a cascade) is actually a reference to a famous piece by Prokofiev, or should I say, famous selection....
  11. I went to school with a Zac Spruthasa. Yes, that is 4/9 but you weren't supposed to get that yet because that part hasn't been recorded yet.
  12. Excellent, you got two of them. Rite of Spring actually appears near the end at 4:28.
  13. Come on, doesn't anyone recognize anything in this? I worked hard to rip off as many composers as I could here.
  14. Elfman's Batman theme is taken from Bernard Herrmann's 1959 score to Journey to the Center of the Earth. I think Elfman admitted this in an interview but it was a while ago.
  15. You're right in that much of what is being mentioned here are rearrangements of melodies and not leitmotifs, but I think the original intention of the thread was to identify those soundtracks where the composer ingeniously incorporated the themes in more ways than just one. So yeah, these aren't leitmotifs at all because they're too long and too melodic. If you need a good example of a leitmotif, Star Wars has a few. In Star Wars the Imperial March is not a leitmotif in itself no matter how it is rearranged, but the motivic cell G Eb Bb G is also used at the tail end of Anakin's theme in The Phantom Menace, and thus represents the idea of foreshadowing thereby making that sequence of notes a leitmotif. So if you can imagine taking a theme and breaking it up into smaller sequences of notes and reusing one of those sequences to connect another theme to the same idea (or character) that would be a leitmotif.
  16. Of all the leimotifs I've heard, Final Fantasy Tactics is the most... leitmotivic. *cue bagpipes*
  17. It's called a suspended cymbal. Well, actually it is a cymbal roll played on a suspended cymbal but you can also call the effect a "suspended cymbal" if you wanted to.
  18. It IS a great remix; one of my best orchestrated ones yet. It's already over the bar in terms of both arrangement AND sampling. Of course if you focus on the shortcomings, you're not going to like it as much. It's going to seem like it could be better. Like we're holding out on some special sampling technique that magically ups the realism (aside from the reverb issue.) The impression I get from the judges isn't "this sucks compared to Valse Aeris" but "we can't post this until it's 100% where right now it's hovering around 98-99%." They want it to fly over the bar instead of just inch over. Maybe that's possible; I don't know. If you consider all those remixes that get resubmitted over and over until they can just inch their way over the bar it definitely makes me feel like I've been typecasted, and I'm sure Derek is feeling the same way right now. The funny thing is that people have complained about my sampling abilities in the past and still thought the music was arranged well enough to forgive me for them.
  19. All I'm saying is that you can't hold small-ensemble stuff up to the same "realism" standard as large-ensemble stuff, which makes sense considering realism isn't the end goal in the first place. I agree that reverb would help in our case this time, but if it doesn't, then we're looking at a whole new set of problems. For example, if I wanted to write a sonata for violin and piano, there is just not a real enough sampleset for a solo violin, no matter how well it was written or how long you spend making it sound real, to compare to the "wall-of-sound" orchestral samplesets that can be thrown together in seconds. That's kind of forcing my hand to write towards the large-ensemble, reverb-heavy stuff I've always done in the past if I wanted to get posted here. But let's just see how it goes before I complain any further.
  20. Meh, all it needs is some reverb. What we were attempting to do is not possible with samples in our price range; that is, give a small-sized orchestra a natural "dry" sound. In the end it just sounds like we forgot the reverb. That means the issue of certain samples being incompatible with reverb arises, so you have to go back and play with the volume/velocities/instruments and that takes time, and anyone who knows me knows I hate spending time catering to samples. Time spent trying to make a computer sound realistic is time not spent composing other things. OC ReMix might need to consider a new (special case) standard for small-ensemble orchestral sampling because the available software and samples are severly limiting in that area. It's easy to forgive a piece that uses a 12-piece horn section and 70-piece string orchestra because the reverb will cancel out the unnaturalness of the sound. But reduce that to a few soloists and a string quartet and suddenly it's 6 hours of sampling for every 1 hour of composing just to make it sound passible for realness. So if anyone is confused as to why this one sounds "off" in comparison to Derek's and my previous arrangements, it's because this intimate small-ensemble sampling stuff is 100 times harder than the wall-of-sound, epic orchestral stuff.
  21. Latin sounds great when sung, as does Italian and French to an extent. German and English are tough customers and don't flow too well in song. Too many awkward syllables, not enough vowel endings. Don't be so quick to dismiss the possibility of using Latin. If you're writing an elegy you could write your own Ave Maria. Try to write something better than the famous classical incarnations, and even if you fail you'll still have something impressive to show.
  22. I heard Dennis Hopper is playing the villain. He was pretty good in Blue Velvet.
  23. Hooray! Another opportunity for me to post this: Burger Time in the style of Dmitri Shostakovich