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About ChrisHurn

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  1. Song Remix Limits

    I think you're looking at this at the wrong angle. This is a great way to learn composition and remixing and all of that stuff -- but you're sort of looking at it from a 'what do I need to change' angle, as opposed to, how can I take what I've learnt here and write a new peice inspired by these ideas? I think you should start getting into that habbit - of doing these things as excersises, then completely going off and writing your own piece in the style of, or inspired by that music, but not thinking about taking the progressions and everything with you. Copyright technicalities aside, it will just leave you frustrated and in a bit of trouble IMO.       That's a very general/blanket way to look at it. By themselves, sure, you can't copyright a chord or a rhythm but it's more about the context they're used in than the individual subjects.   Sure, many pop songs share our good old friend the I IV VI V progression or something similar, but the treatment and context is often pretty different, and even when it's not, that's a pretty understood, generic progression these days that usually is surrounded by enough difference to be seperate things. Like a standard 4/4 rock beat. It's a device, that obviously can't be copyrighted - but it's used within a different context.   In your case you've got a lot further than just 'using the same rhythms', the first track sounds dangerously similar to the example you posted -- you'd surely have to call that a remix and give credit...I don't consider yours to be a completely different track at all. You have to be careful saying 'it's just a rhythm', when it's a distinctive one that uses the exact same sort of synth sound then you're running into trouble, especially when using a lot of the same harmonic material. You're not just copying the rhythm in this peice.
  2. Hey there,   Personally I think you'd have more luck just showing your composer what kind of thing you're after. It's all good and well to learn some terminology, but don't expect to be able to use it accurately for a while -- you'll probably just end up confusing your composer.   The best thing you can do is find tracks that represent the flavour of the piece you want. But if you want your composer to really shine - you have to accept that their stylistic choices and ideas will come through alongside that idea (which is really what you want, if you appreciate how good music can really enhance a game, otherwise you just end up with carbon copy stuff that sounds like everything else). Good 'casting' is key here.   The reason trying to describe musical concepts you don't really understand is a bad idea is because we all have different interpretations of things, and unless you really, really know what you're talking about, at some point you're just going to get confused, the composer will get confused, and if they have questions, you'll probably end up sending them in a different direction altogether.   A good composer will be able to pick up on the soundscape/ideas you like based on the music you send them as examples. Just keep in mind that you should be looking for things that represent the feeling or vibe or idea you want, or maybe the sounds -- be careful about getting to caught up in wanting things exactly like the 'temp' track, or the track you had in mind when you wrote the scene/whatever. Of course feel free to describe things you like - just don't feel like you have to be 'musical' about it. You can just pick out the bits of the track you like, describe the sounds you're hearing (maybe you like the sort of continuous low bass stuff, or the eerie synth pads, or the light percussion or whatever - if you can't describe it musically just say what you're hearing, and this is why it's useful to have examples).     Just my opinion.
  3. Introduction, Music, and Questions

    First of all, Welcome to the forum. I really enjoyed listening to your music, thanks for sharing. Here is my opinion regarding your question. When it comes to writing music for games, you've got two things you need to focus on: Writing kick ass music, and making connections. The first thing you're going to want to do is get yourself a website, even if in blog format, something which says here I am, I exist, I'm a composer, here's my music. Keep it simple for now, nobody really cares how many years you've played the tuba, or whatever. The music, and your attitude will speak for itself. When it comes to indie games - the budgets are tight. Very tight. And there's always somebody willing to do it for less, or free, or cheap, so you have to be aware of that. Now, that's not to say you should just work for the cheapest rate in town because you should ask yourself this: are they hiring me for [i]me[/i] or are they hiring me 'cause I'm cheap? Granted when you have no experience or not much, you're going to want some projects under your belt, and that may mean working for cheap, or free. But be careful what you do. If all you care about is experience, then just reply to every 14 year old kid making an MMORPG and do the soundtrack, at the very worst you've got a catalogue of epic tracks to sell later, or release to other game developers.... But if you're smart, you'll choose your projects carefully. Doing things for free isn't always bad, if it's going to get your name out there too. A lot of composers have been burned (as well as artists, sfx, etc) because they come on board far too early. This works when you're working on the next Final Fantasy but if you're working on an indie game with people you have no idea about and they haven't finished a game before etc, you have to be careful. Sometimes it's a good idea to show interest early on and maybe when they have a demo or are close to releasing it you can come on board and contribute some music at that stage - because the way you get further as a game composer is by having [i]released[/i] titles under your belt, otherwise all you have is more demo tracks (and some good experience, but nobody knows that). It is a good idea to have as many types of music as you can in your portfolio. In an ideal world people would hire you for your musicality, your stylistic choices, your ability to write a catchy theme, whatever, but not too many people think that way. If you're lucky and get developers that really appreciate game music, and how it can make or break their game instead of just looking to fill spaces, you should consider yourself very lucky. But either way, a lot of the time in the indie circles you'll have people who are looking for music that is exactly what they want for their game. And even if you're extremely talented, diverse and musical, they might just give it to somebody else because they had a fun quirkly little drum and bass tune in their portfolio. That's not to say you want to just be a walking library of sound because afterall, you've got to keep your own thing going without trying to be an ipod, but it's something to think about and pay some attention to in the early days...after all, that's how you build contacts, which leads me to... Contacts. What you want is to find people who will work with you again and again. The more successful their games become, the more work you get (because the best way to sell yourself isn't just having a website with some tracks, its having your music in a game a lot of people play, the emails will flow if that happens 100x faster than before). Of course it is a balancing act. Do you take that quick and dirty iphone game which will pay you a lot of money for writing do do dooooo dooo, or do you spend six months risking it all on an upcoming action thriller game that might never be finished, or may end up the indie game of the year? Somewhere in between, a bit of both is ideal. Meet all kinds of developers. I wouldn't bother spending too much time around other composers, personally I find it to be one of the quickest ways to get myself into a state of depression, only so much pretentious anaylsis I can take...that's just me though. In my opinion you should put your energy into game developers. If you're sending out mass emails, don't just do what most people do and send a copy-paste job all over the place. Sometimes that can work if you're lucky and you just happen to have the right track in your library at the exact right time, but you owe it to yourself and your future game composing career to take the time and choose developers that might suit you, and you suit them. Take time to look at their games, play them, comment on them, make a connection. Connections are what you need. Your ticket in the door is x developer who you started working on a small game with, but then they made another game, a bigger game, and needed your music, and then they won x prize, and then that game got published..and before you know it, you're in demand. That's the dream, anyway. From a technical point of view it is wise to always be aware of who's doing what, what games are doing well, are there any trends is also a good idea to spend some time seeing how other games handle their music. Writing music for an RPG for example can be very different from an always changing dramatic realtime action game, or something like that. Sometimes it's all looping, othertimes you have beds of textures that come in and out depending on what is happening, etc. That's a quick and dirty version but I guess the bottom line is just keep writing good music, always be looking to see what else is out there, learn more , experiment, get some projects under your belt, make contact with developers...rinse and repeat! Never stop learning. On a final note, don't be afraid to look into other areas of game development - and more generally, what makes a good story. Understand the Hero's Journey, that type of thing. And whilst you don't have to learn any programming to be a successful game composer, it wouldn't hurt to understand a bit about the process. Most of my work is in films, but I've always found that the best music I've written has come not nessessarily from the project but the people I am working with. There's that saying the music can only be as good as the film (or in our case, the game!) , and maybe that's not always the case, but I find it to be more often true than not. Because you feel good about working with somebody who is inspiring. They understand and appreciate your work, and you understand them, you like the project, the art is great, the characters are interesting (or the game is just really fun/cool/whatever), and you feel more inspired, more involved. And it shows in your work. Then you might get people who just say "hey I need a track for the game make it sad", and you know the work is going to be subpar. In a way it would be like a director telling an actor to 'be sad'. There's no such thing. That's poor directing, it's result directing, and it's going to end in a cardboard performance, the same way it might end up with a generic score. It's not that they didn't give you descriptions, because that's not what you need nessessarily, it's the fact you didn't feel an emotional connection between them and the game, and your work - and how that might effect the end result, the game.
  4. Getting music into a GBA game?

    Gameboy Advance music uses tracked music. Typically the composer will 'track' the music which is basically graphing up notes and values. Look for Mod Trackers on google and you'll find some good ones. There are also communities dedicated to this. Once you've got your .MOD or .IT/whatever file, the programmer will load it into the game. They'll have a sound system worked out I'm sure. There are MIDI to .mod converters, though I've never had much luck with this. You might want to look around and see what you can find. I don't track music, or write for GBA games but I have done a bit of research on this and tests in the past. It's not your job to get the music in the game, it's the programmer. Your task is to either learn how to track, or find another way to get music into the game. You can't exactly just load up an mp3 - GBA has limitations, especially size wise. Check out forums under audio. Good luck. -Chris
  5. New computer, advice.

    Thanks guys. I noticed on the quay website (its a good local store) they have an upgrade to a duel processor for AMD Athlon 64. I don't want to go for this straight away but I am considering it for a little while after I purchase the new computer. Hmm. M-Audio cards are good too from what I have heard, but I will check out the Xi-Fi. Also, someone said that to "make use of the dual core processors is that the software needs to be written to take advantage of it. If it’s not then it will only use “one” core instead of “two” so you will not get the benefits. " I use Cakewalk Home Studio 2004. I read on the Cakewalk forum that I need a program that's "multithreaded". Sonar is, but I don't think HS2004 is. -Chris
  6. [New Demo] Fairy Tale "Snow Witch"

    This sounds very nice, fitting music! Good job! :) -Chris
  7. New computer, advice.

    Okay, so I'm a PC user writing music on a fairly decent 2.53GHZ 1gig RAM XP machine. I'm on SBLive, and frankly, recently I've had enough with all of windows and it's problems. I've had high CPU usage, etc. etc. windows bugs, problems everywhere. It's my goal to be able to run as many tracks as possible with GPO, and other samples. Tracks like this will get the cpu to late 70's, or late 80's in the high peak sections. Often I will have to mix down tracks to audio to free up some CPU. So I want to go to a new computer, just for media. (Music/audio production mostly). As a student (16) I don't have a lot to kick around, but I have found this. An AMD Athlon 64 3,200+. What do people think about this pack: AMD 64 Future Pack • AMD Athlon 64 3,200+ Compared with my P4 2.53GHZ, 1gig of RAM What sort of CPU use will I get out of this? Will it be a big difference? I plan to upgrade my soundcard to an M-audio card, or maybe an Audigy. I'm using Garritan Personal Orchestra, but will be upgrading to some more samples soon (Kontakt etc.). Cheers. -Chris
  8. GBA Graphics API

    Have a look at -Chris
  9. Hey all. I downloaded a tutorial from, on how to do heightmaps with OpenGL. It loads a .raw file. It also has the .bmp texture included. I wanted to make my own .raw file. So as a test, I looked around here, and apparently, you open the BMP, make it greyscale, and save it as a .raw. (in Paintshop pro).Thats what I did, and it didnt work. When I opened it, I got a large flat area, and a bunch of pointy things on the right and left hand sides. I even downloaded a heightmap generator thing. I opened the bmp, it made it greyscale etc.. and then saved it back as a bmp. I then tried saving this as a .raw file with no luck. The image is 512*512 and comes with the heightmap tutorial at (it also has the .raw file which loads fine, but when I try to convert it myself and load it, it wont work.) Maybe someone can help me? I'm really keen to make my own .raw files for the heightmap :D Thanks, -Chris