Monobrow

Just a side note, but Dahlia is directly tied to Walter's actions as a child in SH4, I don't know if this was said earlier or not. Anyway, she (as is implied in a diary I think) was the one that suggested that he go and "visit" his mother, (the Room) I believe...I'm pretty sure, can someone check on this?

Okay, well, if anyone wants me to critique ANYTHING (I think I am a pretty good critic), just link me to something. I want this project to work, and I find that I am at my best when I'm telling other people what to do. So whether it be music or artwork, just link me to whatever, and I will try to give some very constructive criticism, and if you would prefer it to be private, no problem. I will pm you or whatever. So if you aren't sure about something, or just want a little input, send it my way (But send it to KWarp and Arek first since they are the project leaders and bleuab lahjsha ) DISCLAIMER THOUGH: I AM NOT THe FINAL SAY in ANYTHING SO DON'T TELL AREK WHEN I DO BAD THAT I SAID "this or that" blahrlaghb No seriously, send me stuff.

Hey guys, I finally got on a high speed connection and saw the teaser...oh my god...I am very hopeful now. Also, bump. p.s.: nice poster, GT

I am alive, I swear. All my goddamn deadlines seem to be around the beginning-middle of January. Gaahhhh.

Whoa, THREE Floria covers now? Wow! OK, from what I've heard Hemo's will be taken into the finished project (despite what Arek said earlier, but at that time Hemo was not on the project anyway) Awwwww, and it took me whole 2 minutes to do mine! T_T But, just for you, I will post it here for your enjoyment: joah... Ohhhhhhhhh JOooooooooah, such a beautiful drawing, I love the pink face KNUFFIG!HKJF

WIP day...Hmmm, well you guys already have my WIP, so bleh. If you need a link to it or anything, just let me know, I will be on later most likely. Anyway, I haven't really had a chance to work on it much lately, (deadlines for school), but when Christmas Break comes, I will have some time to finish it up. And uh, I guess a small bump. Edit: Also, I just noticed, but LA project sig is HUGE...would you guys mind if I made a smaller one, or resized that one, so it would fit in next to my Kirby Superstar Sig, just wondering. Thanks.

Just want to say that I'm getting more and more excited about the movie.

however. it seems to me that you're saying that music should be pure, raw emotion and no refined elements, thus making music on the whole a hit-or-miss scenario. it also sounds like you think your opinion on music should override centuries of work and theorizing and structuring that defines what elements within music are. music theory is an organization tool - a way to teach musicians what can sound good, what usually sounds bad, and how to write in a way that is generally appealing. music written solely by intuition would eventually result in a catastrophic array of dissonance and generic chord progressions. Believe it or not, there is another side to this argument. I agree what music theory is nice, and arguably essential somewhat, if you are a serious musician. But there have been COUNTLESS people who have NOT studied theory, and yet have come out and contributed to society with wonderful music anyway. Not all music written solely by intuition can be categorized as eventually becoming bad, because music is an art form, and "good" and "bad" is all in the eye of the beholder. If you don't like something, that's up to you, but if you don't like something just because it's not holding up to a learned value, maybe you should take another look around and open your mind up a bit more. Even though I have never extensively studied music theory, I can appreciate its value, and if I had the time, I would probably be a lot more interested, because like any art form, if you really want to "master" it, you need to have some sort of foundation to get your foot through the door, and then practice, practice, practice, until you find your voice. BUT, there are people who are naturally gifted, and most likely, their sense of "music theory" is in itself, intuitive. It's "there", even if you don't know it. This takes away from saying that intuitive music will end up being "bad". Maybe some random music professor told you this, but I have seen plenty of people just improv-ing some wonderful sounds, that if they based their chord changes, etc. solely on theory, would never take the chance to try something new. What I mean by this, I guess, is that it all depends on your confidence level as a musician, naturally, or studied, or both. Also, if I were to apply theory in any sort of fashion, I'd do it as an afterthought, to figure out "why" I liked a certain song, or why I didn't like something else, instead of using a set of rules as a basis for writing music. I am not saying that theory is bullshit, etc., in fact, I think it's a good way to go, because if you ever want to break the rules, you have to know what they are first. But, fifty years ago, people were questioning the validity of rock and roll, because they couldn't fit it into their values. They had to "change" what they thought about music. So to me, music theory is one big musical documentary, that has evolved over time, as our way to categorize and figure out why we like those weird sound waves merging together to create a sensation in our brains. Using it as a tool to "write" though, I would think of more as a personality thing. Emotion is also another wild card. People CAN tell if you put your heart into your music. This is why so much of the music we hear on the radio today is full of "CRAAAAAWLING IN MY SKIN" lyrics, because people can identify with it. It's why there's opera, musicals, movie scores...It's a form of communication. And like all communication, sincerity counts. So I would probably get the impression that someone really cared about the music they were making if they were really into it, relaying some sort of message about it, as opposed to "I am going to use this type of chord progression in this song just to see if I can do it" Anyway, if I had a point, I can't remember it, but I will say this: In theory, you may think that there is always a right way to do things, but...the word theory, well there you have it.

To clarify a bit: I think I most certainly *could* have produced a Turtle Rock track, but given that I'm 4 months from graduating, and pretty much swamped at school, I didn't feel as if I had enough time to really put the song together, the way I had imagined. Nothing I did was worthy of it. I didn't like where I was taking it at all. I have all these "parts" done, but I couldn't tie them together properly, the way I wanted to. Tail Cave has been much easier. Also, I remember having a talk about this with Starky, telling him I was having some trouble with the track, and he said, for the most part that I could pick something else that wasn't taken. So around the time you posted, Rev., I had started working on my version of Tail Cave, not knowing it had been taken (and not sure if I was going to attempt it either) Fast forward to a couple days later, I am please with my version of Tail Cave, so I post about it, and Starky isn't around for a couple days. Then I showed it to my friend Usa, and he wondered what I had done it for, and I told him about the project. He showed some interest in it, and since Turtle Rock was now open, he volunteered to give it a try. I basically told him I wasn't sure what would happen, and that Starky wasn't around, but he decided to make an "audition" track to try it out. No harm done. *No where did I say that I gave Usa permission to do the track, though I did feel bad about it, but I was thankful for him volunteering to help. He knew that whatever he did wasn't part of the project yet until he got some okay, but no one thought it would hurt to start working on it anyway. Why waste time waiting for an okay when you can get your ideas down "now"? Basically, we didn't think it was a big deal. The next day, there was a lot of miscommunication, and drama, and here we are. Anyway, I pmed you, Rev, about what we can do, if anything. All this mess was just bad timing. But that's how it goes I guess.

Hmmm, well I myself have been making music, off and on as a hobby for about three-four years, and I still get REALLY hung up on the mastering process at the end of a song. I literally have about 15 songs that are 90% done, that if I correctly mastered, having some sort of idea "how" or where to start, it would be much easier for me. I'm not some n00b who will take your advice and suddenly become "supar mastar MIx0r", I'm just someone without direction, and on a trial basis, I have always come up with what "not" to do, rather than figuring out for myself what sounds good. My brain just isn't able to see the big picture I guess. So if someone did write a tutorial, with some guidelines, I'd be really appreciative. It would be similar to how I react to the rest of zircon's tutorials, for the most part, anything he stated was pretty helpful, if only to reaffirm something I had already discovered, or get me thinking about "other" ways to go about it that I'd already figured out. I think there are probably a lot of people like me who feel the same way. And, as technology advances, some things are going to become easier to do, and the people that had gone about making it work the hard way are going to be "griping" about all the new people coming around, thinking they are the bee's knees, etc. That's how it's always been. But wouldn't you want for people to have a good grounding in the basics instead...And wouldn't you also, if you know what you're doing, want to help out some newbie with a little advice, instead of them finding out from some other source that's not so knowledgable? Bleh

Hahahaa...I'm not a huge fan of rap, but this cracked me up to no end. I especially love Flik's part...great job guys. Great overall arrangement too.

Hmmm...well, I haven't been having any fun with Turtle Rock at all...and actually have been working on a Tail Cave track myself... But I guess it's up to Starky in the end anyway. I'll still be working on it. Edit: Hmmm, to the guy who is also working on Tail Cave, if you would like to collab on Tail Cave, I have some stuff down so far, rather than us competing. But it's up to you.

ZOMG@@!! Edit: JOAH!!! for good measure

*cough*comments?*cough* Make it a bit louder maybe? By the way, I'm all for separate boss songs. If the mixer covering the stage can't do it, someone else can just do one in the same style. A bit soft on the ears...(turn it up) Hmmm...it certainly is interesting...But those drums need a lot more oomph, at least in certain places. (A good example of this is the crash during the triplets at 1:04 that accompany the guitar...that needs to DEFINATELY be much louder, or you need to use a different sample) If you are using FL, maybe some overdrive fx, etc. may help as well...Also, a lot of your instruments seem very bare bones in terms of sound, some small effects might help a bit more. Also...man this song would sound so much better if that was a real guitar at the end, the way it is now...is kind of bleh. I like the NOTES that are being played, but the instrument itself irks me. If you could find someone who could play that solo for you, the song would go way up in quality. You've done a nice job keeping it a bit childish, but I don't think you should hold anything back anymore, at this point.

Hemo hemo hemo hemo...Hey, if you do anything, welcome aboard.

Maybe LM is right...though I still think each chapter having it's own boss music would be great, just because I personally would be annoyed at reading the story, then the same boss music coming up, over and over...(Unless it was REALLY good and catchy) But for the sake of being interesting, I have to lean towards keeping the individual boss music, even though it is a challenge to the artists, who are swamped with time. But this isn't exactly an issue of quality vs. quantity, because, for the most part, the people who have stayed dedicated to this project have their songs (if not done altogether), for the most part done. So it wouldn't exactly get in the way to at least give that extra song a try (considering that we are short of remixers, and until we find some people to replace the others that have left, we have some extra time on our hands to give it a shot) So yeah, I guess I vote to keep to the original plan.

Okay...I just tried to e-mail my WIP to you, Arek, from the address posted previously in this thread, but it didn't work...So when you see this, e-mail me at Katleikin@aol.com so I can forward the song to you.

In Water= best video game ending ever. It tore my heart out and stomped on it, and I loved every second. As for SH3, the endings aren't as different (I think there's only 2 not including the UFO one) so as to warrant trying to avoid one or the other. There is a definitive "good" ending, but the "bad" ending isn't bad enough to ruin the game. Only minor differences, really. On another note, can anyone direct me to a site with some Silent Hill art, preferably good art? The In-Water ending is definately the most ironic. "Do what's best for you James" God it makes me shiver. On a side note, while I think the In-Water ending is the best ending, and so far, it's the real ending of SH2, I still prefer the leave ending, because it's just so damn peaceful. It's like being smashed in the face with a shovel, only to wake up a minute later upstairs in your grandma's house, with fresh bread being cooked downstairs in the kitchen or something. Maybe that's not the best description, but it's a nice contrast. It's almost too surreal to be good...but it is.

I really love this...I always swoon over piano. First off, the production quality is really nice, everything is crisp and clean to me...Sounds great...Hmm what else...Okay, at first the piano sounds really flat, but with all of the other instruments complimenting it, as soon as I heard them come in, I realized that there was a broad spectrum of sound pretty well blended together. Every time a new instrument came in, the sound was enhanced. Nice builds too. I also agree that your instruments/samples were well chosen as well. My only qualm would have been for the piano to have felt a little heavier sounding towards the end, but that is just my personal preference. Good one, TO... Oh yeah, p.s. I enjoy the chord change at 2:27, I was waiting for that for most of the song.

Okay, sorry I've been away. I have a newer version of my WIP, but I don't know if I can make it good enough by the WIP deadline. I am going to try to make it though. But if I can't do it, if anyone would like to collab with me and use my piano material and add stuff to it, like a drumbeat or something, please PM me or talk to me on IRC. I've just been swamped by other things, but I am going to sit down and do this. Free time is hard to come by. If you need to listen to my WIP, it should be posted somewhere before page 10, I think. But anyway, if someone would like to collab, yeah, PM me.

Ya know, I don't know. There are parts of this song where I am reminded of this one Bjork song with saxaphones playing the same notes over and over. (I love the song, but I can't remember the name) Although, this goes way past that. I do like the drums and the low low geetar. Even if the saxaphones are all over the place, the beat is still pretty easy to follow, as well as the progression. I think my favorite part is 2:15-3:15 though. I don't know if I could listen to something like this on a regular basis, but if I'm ever feeling mellow yet chaotic/confused...yup.

Your calculations are a little off. I would say it's more like around 50%. Great stuff btw, Harmony! Pillar of Salt is not an easy mix to match. Yeah, I think this is great, Harmony. This is probably around exactly what I would have wanted from that WIP...I don't even remember what my "simple suggestion" really even was...but from listening to this, I am very glad that it helped you. Anyway...yeah, the source material is all over this arrangement, Harmony doesn't even really meander away from it for more than a second or two without reminding the listener with a few more familiar notes exactly where we are in the song. And with the 5/4, going back and forth and transitioning so much is exactly what this song is calling for, and so if you aren't that familiar with the source tune, you may get a little lost, and misinterpret what is just another reminder of the original song as some sort of long improv. At least that's my take on it.

HARRY IS PYRAMID HEAD AND HEATHER IS MARIA!!!!!111 Hahaha! There's this interesting one, which claims that Mary stayed at Brookhaven hospital before she died, and that was HER diary on the roof...It's interesting, but there is one glaring oversight to this...First...The entrant writes that he/she has a mouth to feed...And second, the entrant doesn't "WANT" to go home, whereas, in Mary's letter, she states that she is glad to be coming home to see James. Anyway, their explanation? "Mary is suicidal, that's why she went to Brookhaven, for five days before she died, whoa...Why five days? Because there are five entries on the diary on the rooftop! People that don't want to die of a disease and are angry at their life being cut short are STILL SUICIDAL! Even when they show no signs!" Okay, maybe that is a little overboard, but you get what I mean. But don't forget, if your theory isn't provable, there's always the fact that you have the secret and accurate real Japanese translation from your good friend that proves that maybe the person "didn't have a mouth to feed, but had someone to go home to" which OBVIOUSLY means that Mary DID write the diary on the rooftop! You're all wrong and I'm right. /end sarcasm...

Ugh, man I just visited the Silent Hill Heaven forum...and that site is full of a lot of baseless theories about Silent Hill 2. I think it's great that people take the time to think out their theories and all, but there are an awful lot of people who claim that their theories are "really obvious", and "the right" theory when they just make huge leaps in logic and make every assumption in the book, taking my suspension of disbelief for granted. I just want to say that I'm glad this thread exists, because it seems to be better than most topics on that entire site, which is sad.

I love the splendid grand...It's all I use in everything I do, because it is really versatile. Which version of the splendid grand piano is that by the way? From what I know, there are two of them...one can easily be found on the net (7.2 or something), but the other is almost impossible to find (3.6) (the earlier version). Anyway...I am looking for a really good sample (preferably sf2) of pizzicato strings...It seems like every set of them I have found is either stabbingly annoying and too strong, or just not pronounced enough...I need something in between. I have tried EQing the ones I already have, but there doesn't seem to be much improvement. So if anyone has the pizzicato strings samples to end all samples, please let me know. Thanks.