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mark styles

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mark styles last won the day on October 1

mark styles had the most liked content!

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About mark styles

  • Rank
    Intermediate Composer
  • Birthday 11/24/1948

Profile Information

  • Gender
  • Location
    New York, NY
  • Occupation
  • Interests
  • Favorite Composers
  • My Compositional Styles
    pop, lite jazz, ensemble
  • Notation Software/Sequencers
    Logic Pro, Synfire Pro
  • Instruments Played
    keyboards and computers

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  1. Yes, the piece is beautiful, you're playing great.. The arrangement is also right on too. And I love where you made the video.. Keep up the great work.
  2. A new piece. Exploring the use of notes in complexity and sparseness
  3. Thanks Louis and Monarcheon. I will revisit the violin part. I was listening to some Beatles songs, that have the song, 'dis-assembled' (that is you hear solo'd parts, bass only, rhythm guitar with licks. . I notice that the individual parts have a 'wholeness' by themselves. They make a statement. When I listen, especially to some of my earlier pieces. The individual parts, solo'd sound 'wandering', like they don't know what they are supposed to be doing, They fit. but sound kinda 'lost'.
  4. Yes, I would like that Louis - mstyles@nyc.rr.com Reading scores and listening to the music is a great way to learn. Your piece is very concise and compact. Reflects a lot with a minimum of parts. Thanks
  5. This is very MASTERFUL Luis. Excellent arrangement. You convey such emotion with only four voices. You use space/silence as another instrument too. I'm going to blow up the score, so I can watch and LEARN something from you..
  6. Kind of a MOR easy listening piece, with a hint of jazz.
  7. an INCREDIBLE composition, positively BRILLIANT. My only point would be in the low end. About 57 seconds, an acoustic bass comes in. 1:12 tympani. Then 132, a low drone. Compositionally it's still excellent Perhaps some subtle EQ notching - cause you have 2 - 3 instruments competing in the same frequency area.. It gets a bit 'less clear' about what is happening. I find in my own compositions. I create the peace (in Logic Pro).. I play it a lot. often while laying down. After several listens, you will 'A-tune' yourself, to small details. which are unnoticed at first. I often find, a replacemeant library/instrument. This would almost be the equivalent, of the sound engineer, going back to the instrument, and re-miking it. to get a bit more articulation, remove some of the 'boom' in it. You can gently EQ things so that each instrument has more 'room to breath', and they don't 'compete' to be heard. Yes, sometimes you want instruments to blend together and sound as one. I feel the human brain can discern 4 - 6 different 'strands of audio data'. More than that tends to make the brain work harder, and that sometimes takes some of the 'joy' out of the music. If instruments are playing very complementary towards each other. (harmony, rhythms that re-inforce each other) there can be more sound data. This is a minor issue in your piece. Others may have no problem, and think I'm 'talking out of my hat'... I took this free course at Coursera.org - https://www.coursera.org/learn/music-as-biology/home/welcome It's called 'Music as Biology'.. It is somewhat dry.. There are some mistakes that never got fixed, in the quizzes. But it can be free (no credit).. And they offer a LOT to think about in terms of how the brain works to perceive music. I found it gave me some great concepts to try to infuse into my writing. Another book, 'This Is Your Brain On Music', is another must read for any musician/composer.. Thinking about the psychology of music, is esoteric, and something many listeners, are never aware of, but can be a great tool for a composer. There is no doubt about it. Your piece is EXQUISITE. and can stand on its own. I certainly look forward to hearing more of your work.
  8. I don't know who 'he' is.. But I hope he's far away from me.. Seriously, it's good.. Has a frantic, very bold quality to it. You show imagination, and the ability to move into another motif pretty well. My particular observations. too much gong. most of the sounds are 'blaring'.. (a distortion).. Almost all the sounds have a 'in your face attitude'. I would guess, these are the patches, libraries themselves. Not that you are technically overloading a sound. The fuzziness of the piece kind of overwhelms me. I know absolutely know thing about 'epic gaming music'.. so you could be perfectly right on with this. I perhaps would use some cleaner strings and horns to counter balance the 'in your face sounds' You might consider some dynamics. Once this piece gets going it' like a runaway train.. (again perhaps perfect for a video game sequence). I liked the ending. You have great ideas. Keep 'em coming..
  9. Yeah it's definitely in the flavor of Stranger Things. I like this, and the Stranger Things music. Analog synths.. At 2:55 the music get's happier.. I might have preferred it stayed in the vein you started with, but it is you song. It's the chord progression you use. Yes, you really nailed the Stranger Things feel.
  10. Sounds like Ken320 can help.. I am not familiar with East-west products. Generally if the drum is one sample, you're at the mercy of it. In kontakt you can go into edit and sometimes change the envelop of the sample. Play carefully with the decay and sustain, release. Attack obviously should be set to 0 or very close. If Stormdrum has layered samples, and you can edit these. Also remember you can layer two drums together to get a desired effect. If again you can play with the ADSR;s you might get what you're looking for. You might be able to write in CC events in your Daw to control Filter, resonance, brightness. Google 'CC events' These are commands that can control an instrument if it is set up to respond. You can assign a knob, slider, and just move it as song plays to open the filter on one layer. As one 'get's into the details', he/she can do quite a bit with drawing in and writing CC parameters, duration, velocity. You might be able to get away with writing velocities, durations (not all VI's will respond to duration with drums, it's just generally a trigger on, to start the sample, VCO. Etc. That varies from virtual instrument. Where StormDrum is dedicated to drums, there might be a lot more variation in what you can do. Check any forums that East-west, Stormdrum might be on (KVR). Maybe even call them, if they have tech support. Some companies have none, some are very helpful in assisting someone trying to gain all the perspective on their instruments Good luck
  11. I'm more clear on what you are looking for. what are you using to make your drum sounds? virtual instrument, sample player, DAW?
  12. When you play a real snare drum, there is a very wide spectrum of it's sounds. First you can tighten the snares underneath the drum.. this greatly affects the sound. Then velocity, strength, and where you hit the drum, actually creates a vast amount of difference. Some drummers will leave a cloth or their wallet on the snare, for a certain sound, to shorten it's decay rate. In a virtual drum kit. This extremely large variation is drastically reduced. The snares themselves (the metal wires underneath) really don't have much decay change, only the volume of them. The newer, more expensive virtual instrument drum kits use a number of 'round robin' samples to accomplish this, and give the sound the 'human element'. Since drum synths, and sample libraries, we have become much more accustomed to not a wide range of snare drum sounds. But the human ear is quite adept at discerning when the same sample is repeated over and over. What you come away is, depending on the realism you are going for, depends on the virtual drum kit you use. Yes, you can program snare sounds, and create some interesting results. You can google snare drums, and find info which might inspire you, or aim you in a direct to create what you are looking to do https://newpercussionist.com/how-to-tune-a-snare-drum-hitting-the-right-beat/
  13. Hi Muhammadreza - welcome back. I like this piece a lot. I just watched the miniseries last night. a very powerful series. For me, you captured the essence of what Pripyat's forest might fee like now. I might suggest, you approach the drums with an orchestral feel, or like Ringo did in some of the Beatles later pieces, He played mostly fills, and turn arounds. The sparser drumming leaves more room for other instruments to shine.. I think this piece is my favorite of your work. Good job.
  14. If you use a drum program like Superior, BFD, and others, you can adjust the ADSR = Attack, Decay, Sustain, Release, and shorten/lengthen any one of those parameters, also change pitch, plus other effects. Some drum VST, AU's will just play the sample straight. Ghost notes, are softer, have a different sound and sometimes play a bit of a rhythm.. Ghost notes in virtual instruments, play in addition to the straight snare. In drum libraries, the ghost notes are different samples.. If you are using some kind of Kontakt program, the ghosts will be a different MIDI note to hit. On some synths and virtual instruments, you can put the instrument into MONO mode which will only let one note play at a time. Hitting a ghost note, will shut off the first note, which you may or may not like.
  15. Here's a relaxed funk piece I did about 10 years ago, used in a go no where movie.. Sorry I wasn't into writing out scores then
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