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nguerrero

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nguerrero last won the day on January 16 2019

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About nguerrero

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  1. Let me explain what I can explain. To me the easiest thing to understand is cents. In our western system, each semi-tones equal +100 cents in comparison to the semi-tone before. So it goes like : 0 (tonic) 100 (minor second) 200 (major second) 300 (minor third) and so on until the octave that is 1200 So for example, the minor thrid in the tuning I used is 330 cents. That means that, in a 12tone equal temperament system, if you were to bend upward from the minor third to the major third, you would have to stop at 30% of the way to hear that minor third. I hope that has been a bit informative and helped you understand that.
  2. Hi Tonskald, Cheers for taking the time to listen. The microtonality of the tuning consists of small deviations hence why its very subtle. This being my first microtonal piece I didn't want to venture to far from equal temperament 12 tones. The biggest deviation is the minor third. Here is the detailed tuning: note: ratio: cents: 0: 1/1 0.0 1: 20/19 88 2: 43/38 214 3: 23/19 330 4: 24/19 404 5: 51/38 509 6: 27/19 608 7: 3/2 701.9 8: 61/38 819.3 9: 32/19 902.4 10: 34/19 1007.4 11: 36/19 1106.3 12: 2/1 1200.0 I did hesitate to cut short some parts indeed. I'll keep that in mind in my future endeavours. Thank you for the feedback
  3. Hi guys, I made my first microtonal piece using Zheana Erose novemdecimal microtuning and combining it with minimalism, in the style of artists such as Philp Glass, Max Richter or Steve Reich. I've been fascinated by microtonality and minimalism and have been convinced that doing both at the same time would turn out great. I have a minimalistic album in the making by the way. Check it out and let me know your thoughts. Cheers!
  4. Macabre is an hybrid orchestral piece that I wrote for a friend's tabletop rpg called Oddland. It is a world of mystery, oddity (as you can imagine) and plots. I had a lot of fun playing with how the brasses and strings could sound in the big hybrid drops. Main Vst's I used: Omnisphere synths, Spitfire Albion, the gentleman, and quite a lot of sound design to get to that creepy/hybrid/big feel. I hope you'll enjoy this one.
  5. I'm taking my sweet time to answer haha. Sorry about that, I've been off the grid for a long time. Did you find what you needed in term of VSTs ? If not it really depends on what kind of music you'd like to do. Let me know!
  6. Oh and sorry for taking so much time to answer, I need to be more active on this forum.
  7. Hey SilverWolf, Yeah I wanted the orchestra to not sound too crowded and rather to be contemplative, as the journey to the Moon must have been. Thank you for listening to the piece and taking the time to write here. Hi Monarcheon I definitely have a lot to learn when it comes to harmonies and music theory. I try to sensibly build my harmonies but I also try to follow my feelings as much as possible while I write music since I feel this is what will make a piece interesting. Thanks for the feedback, I'll try to analyse my piece a bit deeper. Hey Luis, That is really nice of you that you've taken the time to see the video. I tried my best but I'm in now way an editor. I had a lot of fun doing it though. And yeah I had to resolve the tension in some ways around the 4 minute mark. Hey Guillem, So I used mostly Cinematic Strings for the sustains, and the cello legato you hear is Tina Guo Legato Cello. I think I layered an extra double bass/Cello for the low part of the orchestra from Metropolis Ark 1. And the wind instrument you hear is a duduk I played for the project. Thank you for listening, it was a really interesting and fun project to work on from the basic idea to the editing of the video. Wishing you all the best, Nicolas
  8. Here's a personal project of mine. Space is a wonder to me. The first man ever set his foot on the moon 50 years ago. Being a music composer, I wanted to do something for this anniversary. The project got so big and ambitious that I wanted to make a clip for it. And I got lucky when NASA announced that they made their footage copyright free. So I bought video editing software and made my first ever cut. I'm definitely not an editor but I had a lot of fun making this video. Here is the link to the music and video. https://youtu.be/EcvL36-x_Ec
  9. Hey Gustav! Still needing help? If so what you should do is actually check the custom folder button. When you install the plug-in you should be prompted to chose where you want the .dll of the vst plug-in to go. Make sure you chose your custom folder. It should now work. That's how I've managed to make my plug-ins work. Let me know if it helped. It can be quite frustrating
  10. Wow! I didn't expect a full review of the soundtrack but I'm really grateful for that and you pointed out a lot of things that I can improve. You shouldn't apologize for the details you put. It's quite the contrary. That is the type fo feedback any composer that want to be better at their craft would love to get. So again, thank you. Alright on to your comments now: I would have loved to hire live musicians for the soundtrack but the game was designed as a rev-share. So no income up front and I didn't have the personal ressources to hire live musicians. I am aware of how crowded my pieces can be. I'm trying to fix that but it is a long process (as everything is in that job). You should have seen my early pieces. It was NOT listenable. The guitar is my first instrument so I guess that helped. As for the rythmic guitar and the abrupt orchestra I completely agree with you now that you point it out. I lack subtlety sometimes. I'm struggling sometime with the balance of mixing/orchestral sounds. I haven't found the right balance yet. I don't want to cut out to much and yet I want to give a powerful feeling to some part of the songs. Yeah the celtic sounds were a really important part of the soundtrack along with the electric guitar. and the choir To me they are the main elements that were supposed to make that soundtrack feel unique. At first, even though the game is set in a steampunk world, I wanted the soundtrack to have some sort of medieval/fantasy feel to it. The ending could be improved that is for sure. The songs were all designed as loops so I had to add endings to most of them and I must admit I lacked inspiration at some point. I definetely need to work on my rythm and metric understanding. That is one area where I need to invest a lot of time in. If I were to evaluate myself right now I'd say my strong points are melodies and harmonies as they come quite naturally. But rythm and metric theory, meh. Haha yes! I expected that sort of comment on that song. That song was wrote as a trailer song for the game. I wasn't sure I would include it in the soundtrack. I'm still not sure. I was gonna include it at the end as a bonus track. Maybe I should do that? You are not crazy haha. They are not exactly evenly subdivided. There is some craziness happening in their line. I basically moved the fast part a tiny bit off time to make it less stable. I figured it would be interesting and as I worked on it I learned to like it. There is indeed a celtic flute but I wanted it to be a support instrument rather than the main one. I now am not sure of my choice anymore. That is exactly what I thought when I was compiling the soundtrack. I too needed to hear something else. Maybe since "Surrounded" and "What we fight for" are a bit different, I should have moved them up in the track list and moved "Bomb Run" and "Fire At Will" down to somewhat fix that. What do you think? I took too little time to design the soundtrack and that is one mistake I won't made again. Because at some point I was doing the same thing over and over, specifically with these songs. This song was divided into two different loops in the game but I wrote it as one. So that is why it is a bit longer. First loop is until 3:01 and the second is everything beyond that. May be I should have divided it into two songs here. Thank you! This one is one of my personal favorite in the soundtrack. Glad you liked it. Again lacking subtlety here and again agreeing with what you are saying. I will pay more attention to dynamics and velocity in the future. That's for sure I did struggle quite a lot with the rythm in that song. I really need to learn a lot more about swing rythm. Thank you again for this great feedback. You can't imagine how much that helps. Cheers!
  11. Thank you for taking the time to listen. Looking forward to your feedback. Warm Regards, Nicolas
  12. Hey guys! How are you doing? I just released the soundtrack of a mobile game I worked on last year. The game is set in a Steampunk universe where the skies are full of pirates and such. You're taking control of a zeppelin and hunt them. It's a shooter game with fast paced action so I had to mostly write combat/action music. I did try to have it as a consistent soundtrack although I was kinda sick of the motifs by the time I finished the soundtrack. Would love to have some feedback from you. Check it out if you have some time. By the way, if you like the music, the game is on the play store and the app store if you want to try it out. Just type "Brigands" in the search bar. https://soundcloud.com/nicolasguerrero/sets/brigands-original-score
  13. Hi everyone! I'm looking for a female singer to collaborate with. I was thinking something similar to Massive attack singer. Here's the WIP I'd want the singer to sing onto :
  14. I think you did an outstanding job on transitions. The music fits the frame on almost every part of the scene. The only part I think was a bit off is the part when the stormtroopers enter the spaceship. The melody and the harmonization are fine but I'm not keen on the choice of instruments here and the intensity you put at that moment. Apart from great job man! I escpecially liked the Vador entrance. The big brass are in their place here.
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