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About Muzo72

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  1. Here's a good one for you. Not exactly for beginners, but it's a trove of excellent information. Northern Sounds put a complete annotated version of Rimsky-Korsakov's [u]Principles of Orchestration[/u] online plus a course on jazz arranging from Chuck Israels. (Israels is a legendary jazz bassist.) [url=""]http://www.northerns...hp/76-Education[/url]
  2. Those of you heading to GDC 2011, check out my lecture...<>
  3. Patience

    Just to follow on Nate's post... I actually did a lot of gigging outside of school during my final years of college. I played in various jazz groups and sometimes was performing 3-4 days a week aside from my classes. This was invaluable experience. I used the school computers to learn Finale and print charts and parts for school projects and gigs. I didn't even have my own computer until my last year of college. I learned the basics of sequencing on the old Opcode Vision in the mid 90's during free time in the school computer lab. My purpose was mainly to record chord changes to practice jazz improv. It never went much beyond that. I didn't start delving deeply into sequencing and DAWs until about three years after college when my wife bought a nice computer and a copy of Logic. I also taught myself everything I needed to know about audio and film sync by reading books, paying close attention to what was going on when I was in the recording studio, and asking some questions of colleagues. Learning the technology was much less work and effort than actually developing musical skills. I never planned on working in film, TV, or games, but having a solid musical background made the move into those industries possible.
  4. Patience

    As a fellow percussionist and now professional musician, I say forget the gear for now. Focus on your musical studies. You can always buy gear and learn it. The gear you buy now may be outdated in 4 years or whenever you graduate anyway. Save your money. If you want to learn about software and other gear, avail yourself of the equipment at your school. That's what you're paying tuition for! <wink>
  5. Aleatoric Axe-periment !!

    Quote:Original post by jjandreau D# A# minor I suppose? :D Sounds zesty. Not exactly. I was thinking more traditional - A lydian. The D# note is what makes it lydian instead of plain A major so I'd use that note as a jumping off point and stay within your Amaj13(#11) which is lydian harmony! :)
  6. Aleatoric Axe-periment !!

    What is an F#m6/3 chord? That's not a standard chord symbol. Is the 6/3 a figured bass indication meaning a simple F#m with an A in the bass (F#m/A)? If so the polychord sounds like an Amaj13 to me. Or did you mean an F#m6 with an A in the bass (usually shown as F#m6/A)? If that's what you meant, then this is an Amaj13(#11) chord to my ear. If it's an Amaj13(#11) harmony, things get interesting and your horn semitone movement makes perfect sense. If writing for orchestra, I might... 1. After the horn portamento, sustain and diminuendo the whole chord (horns and strings). 2. Then double the D# (#11) in a different instrument on the top of voicing as the horns fade away and strings continue the sustain. Flute could be nice for this note (or oboe if the player is good -- this could be a high entrance). 3. Use the D# as the melody note for the beginning of a flowing lydian melody. Don't use the entire orchestra for a while so you have somewhere to build. As I think about this, it might be nice to start with the horns and strings in mutes. The strings will be silky and the horns won't be too brooding. Uh-oh, starting to sound more like Debussy's "Daphnis and Chloe". [wink]
  7. Crescendo Effects

    Quote:Original post by reaper567 Does anyone know where or if there would be a crescendo/decrescendo vst effect as freeware? Just something that over time reducing/increases the volume of an instrument. There's probably some technical name for it, but I don't know it. It's called automation. In most sequencers you can control MIDI volume (Controller #10) or MIDI expression (Controller #11) by either moving a fader and recording the action or drawing the volume curve right on the screen.
  8. I'm an idiot, can someone explain equity?

    Quote:Original post by Tom Sloper The Small Business Administration can help you with that kind of advice too, and for free. (assuming you, the OP, live in the USA). +1 for this. Even if you have a lawyer, it may be helpful to sit down with someone at the SBA and chat about your plans. Look into the SBA's program with the Service Corps of Retired Executives (SCORE). They are retired business people who advise small businesspeople on all sorts of things. I had meetings with SCORE volunteers twice when I was first starting out. It was very helpful and I learned some basic business tips that I use to this day. They will usually try to set you up with someone who has expertise in your filed or one that is closely related. If you've never had a business before, I highly recommend at least one trip to the SBA.
  9. My fellow composers...

    Quote:Original post by Dannthr I propose a DEATH MATCH! Only one composer left standing, and he will be in great demand after the purging. Nah, having more than one composer around keeps us orchestrators in business! [cool]

    Thanks, Nate!
  11. What to Do?

    Best of luck to you! [smile]
  12. What to Do?

    The binding most likely won't be a factor in the judging, but a poorly bound score (stapled or not bound at all) could be an annoyance for the judges. Imagine having to judge 30 scores all poorly bound, with pages falling all over the place. That could be enough of an annoyance to cause a judge to spend less time looking at your score. Comb binding should be fine. The main issue is that the pages turn, lie flat, and don't fall apart so that the score is easily readable.
  13. What to Do?

    You can indeed tape the scores yourself! This is how music copyists bind scores all the time. If you've never done it before, you might want to have someone show you. Basically it works like this: 1. Tape all the individual pages together, side by side, with a piece of tape along the entire edge on the front of each page. 2. Accordion fold them all together to make a book. The backs of the pages will be facing each other and the outside edge of each page will have a piece of tape protecting it. 3. Use a wider piece of tape to bind the "spine" of the book and hold it all together. 4. You'll immediately see why heavier-quality paper and good tape make a difference. You can often find artist's tape at art supply shops. It's not cheap but it works very well, has a long life, and is even removable from heavy paper with minimal damage if make a goof while taping. If you decide to comb bind the scores, I think Staples can do that. Give them a call. If not, most Kinko's (now FedEx) or other copy stores can comb bind. If you're using thin paper, comb binding double-sided pages may be the best solution.
  14. What to Do?

    From the submission requirements: "Six (6) hard copies of the score, which is a legible, performance-ready score of professional quality." This means bound scores on decent quality paper. Tape binding single-sided pages (back to back) with artists tape would be the best solution. It's durable, pages turn easily and lie flat, and scores will stack easily in an envelope or box. This is the way we bind performance scores for recording sessions. Alternatively you could comb- or spiral-bind the scores. If you don't have a comb-binder, you can go to FedEx/Kinkos and have it done. Comb binding is the way we bind books of multiple scores for the recording booth (engineer, score supervisor, etc.).
  15. Composer's Assistant

    Quote:Original post by StephenWhite I have been hearing more and more stories of the car-washing, house cleaning assistant. I think that's pretty humorous. I can just picture the strapping, young, fresh-out-of-college composer ready to learn from the BEST just to do the same errands his mom yelled at him about for years. Don't laugh too much. I do know some people who started out running errands for a composer and wound up writing cues for network TV shows with that same composer a few years later. It really depends on the composer. Some composers are happy to let someone be a fly on the wall and learn by watching while doing other tasks. If they see potential, they may start giving tasks requiring more responsibility. However, it's rare for someone to come right out of school and start writing cues on a major project. There's just too much that isn't taught in school. Other composers aren't interested in sharing their knowledge or don't really have a position for an assistant to advance. They may have all the technical and music help they need and only need someone who can handle some menial tasks. You can still learn something by doing these jobs, but you may have to look elsewhere for advancement. Bottom line: There is no set role. In my experience, the best assistant opportunities are usually with established film/TV composers. Games don't have the same kind of budgets and the composers don't make as much so they can't offer the same kind of opportunities. But again, it's tough to generalize in this industry. Your mileage may vary.