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KeithGarry_132794

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  1. Don't worry guys. After a few weeks Ebola threat will be boring just like how no one cares about heart disease and how it kills 600,000 people each year.
  2. "Revolt doesn't answer a thing. You must understand it, go into it, examine it, give your heart and your mind, with everything that you have, to find out a way of living differently. That depends on you, and not on someone else, because in this there is no teacher, no pupil; there is no leader; there is no guru; there is no Master, no Saviour. You yourself are the teacher and the pupil; you are the Master; you are the guru; you are the leader; you are everything." -Jiddu Krishnamurti
  3. Pretty overwhelming isn't it?     Really, the only thing you will need is: something like noteworthy composer $15. https://www.noteworthysoftware.com/       Noteworthy makes midi music only.  That sucks, but here you will learn what the different notes mean, what sharp/flat means, the different between slurring notes together and not, and many many more things.  You get to experiment right away even without a keyboard.  I think there's a free version on there too.  You can experiment with the different midi instruments provided to try to get a different sound.  This is how I started.  I did have access to a cheap keyboard ($30) and I practiced finger movements.     The bigger Digital Audio Workstations(DAW) are very very complicated and overwhelming at first.  I recommend that when you are no longer content with making songs in Noteworthy to give FL studio a shot.  It is primarily structured around making techno songs, but if you keep at it long enough you will learn the arts and be able to make any type of music with it.  It is one of the cheaper options for a DAW being priced at somewhere around $100.  If you make it this far, pick up a midi keyboard that has a midi in/out and grab one of these    http://www.amazon.com/Generic-USB-MIDI-Converter-Electronics/dp/B003KXEDVQ/ref=sr_1_1?ie=UTF8&qid=1410436588&sr=8-1&keywords=midi+keyboard+converter   The converter transmits the state of key presses/releases to your computer so you can start getting into the groove a little better while composing music. I remember being blown away when the studio recorded my input for the first time.     The DAW hurdle is one that will take a long... long time to learn your first time.  There are many aspects to composing music that will upset you and you may end up taking a break.  But it will always be waiting for you to return.  
  4. I used to think the same thing.  A great man once said that there's a lot more to gain from keeping as many doors open as possible.  But once you go through one all the others close.  I feel this is the same with genres.  Here are a few electronic tracks that are beautiful and expressive.  It's all a matter of context and the medium.  There is no best genre for games.   Mirror's Edge:   https://www.youtube.com/watch?v=gfpQjtTrCEk   Portal 2:   https://www.youtube.com/watch?v=OFSwT7Xvpj0   Fez:   https://www.youtube.com/watch?v=76GnOwHorn0     Do you think that Beethoven or Mozart wouldn't jump at the chance of using digital music to enhance their music or experiment with completely new sounds?  You said that "Computers and electronic sounds CAN NOT FEEL.".  The same is true about a cello or a violin or a piano.  The instrument is useless by itself.  But when a human plays it with a feeling in mind, then it becomes art and expressive.
  5. Music definitely depends on the type of game and type of scene you're producing for.  There really wasn't much context provided so the tracks were critiqued on how they hold up on their own.     Reading the description of hundewache it's an adventure game track.  That could mean a lot of different things: myst, flower,  The track felt more like taking a nap at the beach.  The music does very little to convey what could even be happening.     Try a soundtrack from an old adventure game called Lunacy-Lost Memories. The music for this game is enchanting, yearning, mysterious.   The music has interesting arrangements and patterns, transitions nicely from part to part and it punctuates loudly at parts.  becomes more quiet drawing the listener in more It isn't hiding in the background.  It's helping the player think.   Note the arrangement of the piece.  The subtle (and not so subtle) changes in instrument velocity.  You could easily replace the whistle with violin/cello/etc here. The song is mostly consistent in its rhythm, but at 1:00 there is arpeggio that fills silence.  It then becomes more quiet drawing you in even more.   Comparing it to hundewache, hundewache carries on with the same meandering chord progression until it's done.  It's a pretty song, but it isn't very interesting or telling about the mood for which it was produced.   Another track worth referencing is one from Flower.  Much faster in its pace but it's still calm somehow.       If you feel like you're stagnating or behind in your talents then just start grabbing references and dissect how they were done.  There is no faster way to learn.  
  6. Aurora is pretty excellent, reminds me of Blade Runner.     You can't be complacent when it comes to the pacing of your music.  It should be evolving and changing, even for slower songs (subtly changing).  People aren't going to fall in love with your music if you make minimalist tracks like hundewache.  It does sound beautiful, but the rhythm never changes and nothing really seems to happen in it.  Consider any kind of popular music.  Reference dubstep, metal, rock.  You don't have to like these genres but they reveal a lot of fundamental patterns/techniques that get people hooked into listening.     When composing your music in a studio its easy to get bogged down and I find that's the reason why songs fall into boring structured loops and the beat never mixes up.  Hum or sing the lead and experiment without the piano/without the computer only using your mind and concentrate on the rhythm and what it can lead into.   I had the opportunity to work on some tracks for mobile touch shoot-em-up.  The levels were very short and due to filesize restraints I could only create very short tracks.  My first few attempts the project lead told me that the song takes too long to get going not much happening.  It was a good exercise.  I highly suggest creating some practice tracks with the same objective in mind.  Concentrate on making tight fun loops.  Here are some clips.   Factory Alleyway Docks   In these I always establish the theme of the level in the first 1 or 2 measures and then kick it up a notch.
  7. Maybe you should start a prototype of your current idea.  Limit it to a 3x3 set up.  You could quickly get something going just using an array of Level.   In the level you could have a class called MoveableDirection that keeps track of possible movement directions.  It could also include a method that sets its neighbor to be open after you open a door with a key.       You seem to have the right idea with how the art would work.  You'll need to create an animator class and draw each view from scratch.  Another way is to build it in 3d and simulate an oldschool feel.  The player would be teleported to the next spot instead of walking.  Have you looked at the free version of Unity yet?   The problem as I see it now, is that you'll probably have to create an editor that helps you set up the rooms since there will be a lot of manual templating.  You might as well build something to help you with that.  It could be a good learning experience by itself.   While creating something like this, I would always be asking myself "How can I make this more modular?"  What design steps can you take that will help remove tight coupling between levels?  You'll probably want to swap rooms at one point, for example (maybe during compile time, or maybe during run time as a puzzle).  
  8. In event based music, basically an event system is created by the programmer, first. So the groundwork has to be decided before the system is designed (and tracks made).  Sometimes it's a simple fade out track one, fade in track two.  The more complicated your event system, the more tracks you'll need to layer.  This should probably be a collaborative effort between the coder and the composer.   The event system would keep track of a segment of the loop and, say, if the event-state changed in the middle of the loop, it would wait to finish the loop and then play the next one in line depending on what state the event-system is in.  As you can imagine, this is very tedious and complicated operation plus it usually requires the teamwork of at least one coder and one musician so that's probably why it isn't done often.  A lot can go wrong.   When it comes to the artistic direction of the music I have had people give me absolutely no direction what so ever up front.  It would probably make a good article (Questions you should ask the project lead to hone in on the right sound perhaps?)  Sometimes the project lead has a good idea what it should sound like, but an atrocious ability to describe it to you.  
  9.     Very very very good feedback.  Thanks for this.  I may strip away a few layers of the song and reconsider some design decisions.  Sometimes it's rough hearing criticisms but there is no other way to improve.  It's too easy to hide behind "art" without learning anything.  So comments like yours goes a long way and I still have a lot to learn. 
  10. Got the promotion. :)
  11. The last time I posted my work was in 2011.  There was a lot of good criticism about quantization that I took to heart.  So over the years I have been developing my sound and paying close attention to the details.  There's no excuse for sloppy beats: it's laziness.  Anyway, so here is my newest work-- an exercise in conversion where I take an old(ooold) song and modernize it into something half way decent.  Let me know what you guys think.     http://youtu.be/x5EOQdf_oYU   https://www.youtube.com/watch?v=gMFSNF3V3ik (original)
  12. Good topic. I admit that I'm dodging "impossible project" threads.     Usually the "you-must-study newbie-san" is the equivalent of a distant flash of light on a stormy sea.  They might see the beacon for a moment, but they are already lost again.  Besides did any of you start off with mediocre desires in game development? I mean, props to him/her for working up the courage to make a game and get out in front of people. The newcomer is going full speed towards their passion and you think trying to ward them off with weird hocus pocus like "planning" is going to make a difference?   It's almost always better to let those questions slide, because if he/she is going to attempt to be a one person show, when normally it takes hundreds, well, they probably need a bit more than a refresher on common sense.  If they are tenacious and determined, newcomers will figure out how to develop their own compass.
  13. Sounds great.  Nice work!