prophetik music

can i point out i've got 74 posts in the project thread (total: 714 posts)? that makes me kind of important, right? edit: ninja neko, i KNOW! there were people there saying that this site's quality level has dropped off recently, and nothing beats scott peeples. i mean, seriously! scott peeples!

torrent works fine for me, but the ocr tracker is on and off.

hey, this whole thing is really great. congrats to everyone who contributed.

hey, this album is absolutely awesome. i forget whose little brother is the one yelling, but it's really funny.

two questions. 1. can anyone give me a step-by-step explanation of how to rewire gigastudio 3 into either FL Studio 8, Sonar 8, or Cubase 3? i'm trying to use one of those programs to send midi data to gigastudio, have gigastudio play that midi data with the giga files i load, and then output it back into the DAW. i don't have a GSIF sound card, so it's as good as i can do it. 2. since gigastudio is a horrid program that never really works right, is there an alternative? i know kontakt 3 can handle giga files, but you can't use the vienna symphonic library performance tool if you use kontakt (which is the whole bloody point of the library). thanks in advance. i'd just buy the GVI (giga virtual instrument) if i could justify paying 300$ for old technology that's not supported by anything - including windows xp sp3 - anymore.

boy, i love how he followed the standard immature fanboy path of ripping on something (hoshits scuba divers more like stupid divers amirite) and then justifying it (donworry i like the grammar club they're so great groinlol). ________ no, wrong side of PA. i'm near jamestown. if you decided to come to mag this year, DA, you'll meet me. but you'd have to actually come and visit. haven't you had a job for several years now? you've got enough saved! you can room with other OCR people, and never even tell them your name! edit: so, i just double-posted unintentionally for the first time in like three years. durr.

not everyone knows about the tags yet, kyle. don't pound a nub just because he's ignorant =)

ah, the OP is a hack. you could give him doug's percussion remix and he'd think it was a guitar.

thanks for letting me know that you're dropping one of the biggest tracks in the project don't do the white knight thing for this nub, miku. no one cares. roman numerals are useless with pop-ish shit like he's drooling over. i stated this, but attempted to explain it anyways.

love the middle synth-only section. i used to crank that constantly.

i really like ffmusicdj's string machine remix. that's one of the first remixes i ever heard on this site.

i think i'll be in PA that night celebrating my bro-in-law's birthday. i'll try to get on, but no promises.

wait, cpu only, right? your hard drive would be fine, wouldn't it? also, phenom II's have a low TDP, so as long as you actually put thermal paste on the cpu it'd probably operate pretty normal for a little while before the dissipation factor of the heatsink was overtaken by the cpu under load.

it's because we lurked in it for years waiting for the project to be finished. those views came way before the project was released.

i'm well aware that those chords exist, man. everything 'exists'. the difference is that he was asking about using Roman numerals to describe them, and we said that you can't do that because it simply doesn't fit. i'm well aware that there's more to music than theory, but he asked about theory, and i responded in kind. the whole point of theory is blindly following instructions that don't make as much sense as you'd like. i rarely compose using perfect voice-leading and chord structures. when i talk with college professors about theory, though, i need to be able to speak the language. no, no one uses +III chords in minor, because they sound horrid and there's nowhere to go with it. can't you read? the chord structure is primitive. i suggested a way to make it more auditorily interesting. considering i'm the only published composer in this thread, and the only currently composing-for-games composer in the thread on a VG music forum, i'd like to think i know what sounds good and what doesn't. take it or leave it. edit: where's my LAProject track?

i know level 99 hasn't seen it yet, but he'll flip a shit when he does. i'm sure he'd house you, and he only lives an hour or two from the con site. aeroz knows level 99 very personally, if you know what i mean.

just wanted to make sure i got the right stuff, that's all. goodness knows i don't have a backup of this stuff.

i was busy!

the site will give you the tinyurl and everything automatically. so good!

here's the site link.

i'm probably going. i'd be going from central NY, although i'm close enough to buffalo or syracuse to pick people up. i don't mind stopping along the way.

no offense, mate, but can you spell that out a little better? i hate having to use ctrl-f too much. just copy/paste the stuff you want taken out or added so i can do the same.

same thing as your other thread, brian. roman numerals make this kind of stuff too complex to really see what's happening. it's just pop shit, not real contrapuntal stuff. as a result, you can't really 'analyze' it. for what it's worth (i'm working from my memory here), the last two chords aren't in the same key as the rest - they're secondary chords. that's not a II (which doesn't exist), but a V/V. you do know that this is a lot easier to read if you put it down a half step and put it in the key signature of C (even though it's in A), right? like, way easier. you've got the sharps at the end for the secondary chords in E (V/V, V) and that's about it.

lol. if both vid cards went at the same time, i'd suspect either a failed rail on the psu (if they were each powered through a PEG plug) or your mobo causing it. use the old stuff for something interesting to goof around with. an htpc is fun to play with. if you actually have anything that still works, you can donate it to a local college's or high school's tech department or something for them to use for spares or test subjects.

you can call me whatever the hell you want to call me. just don't get offended when we try to help you and you have no idea what we're talking about. it's not our fault you know nothing about this stuff, even though sites like musictheory.net spoon-feed it to you. if you haven't bothered to do your own research, why should we help you? that's why the response "google.com" usually follows any question here on the site at some point. also, your second example has two major mistakes in it. first off, you're basing your chords around a natural minor scale, which sounds cool, but all minor progressions in functional harmony are based around the harmonic minor scale - a raised seventh, which gives you a major V chord and therefore gives you a cadence to use no matter what. this'll give you a V instead of a v (raised 7th is a G#), a diminished vii chord from the raised root, and also possibly a +III (C, E, G# is an augmented chord) based on how you're doing it (but no one uses these so they don't really count). the reason numerals won't work is because what you're talking about aren't standard chords. roman numerals only work for functional harmony, and you're talking about something else. functional harmony includes all normal harmonic development - and major seven chords are rarely used within that normal harmonic development. for example, in your first example you're using an Fmaj7, G, Emin7, and Am chord. these progressions aren't a part of traditional harmony because of the lack of passing tones between them - while our pop-oriented ears hear them as cool, they make no contrapuntal sense. for example, going from G to E has no true passing tones, and as such doesn't really work in traditional harmony. your awesome progression is little more than two chords - Am and G - changing roots by a third (G to E, A to F). nothing really special about it. in fact, it's actually less interesting that it could be if it were using the proper chords - an E7 instead of an Emin7 (g# instead of g) would add harmonic interest in the change between the G and the E7, and it'd lead to Am a lot better. Fmaj and Am/F are different for the same reason that B# and C are different. they sound the same but serve different functions. basically, if you want to talk about this progression, understand it's not something you can analyze using traditional techniques because it fits in those techniques approximately as well as modern fashion would fit in victorian england. those people would find it crass and dissonant, even if you find it sublime, simply because it doesn't fit into those ideas. you can use the numerals to describe it, but that's a poor choice of context, similar to explaining a painting by only using the terminology of a dentist. describe it by what it is - a chord progression. just say what the bloody chords are, and you'll be fine. just take it at face value, man - any progression that lacks true harmonic interest will become grating if repeated enough times. regardless of how cool some chord progression sounds, don't you think others would have exploited it by now for some shitty pop song? i mean, it's not like other musicians haven't already explored just about every four-bar set of chords that's possible already by the nineteenth century. so, as you can see, the reason that it's not a VI7, VII, or v7 is because none of them actually exist in minor keys (else you'd need a raised root for the VI7 to exist, and a lowered 7th for VII and v7).