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AngelCityOutlaw last won the day on January 7

AngelCityOutlaw had the most liked content!

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About AngelCityOutlaw

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    Intermediate Composer

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  1. A mysterious-sounding, sort of bizarre loop that I composed for a fantasy game. See what you think.
  2. I think my only complaint is that the wind instrument from around the 2:40 mark feels too dry and "in your face".
  3. Ha, well probably not exactly since there is an official instrumental out there and the original didn't have that kind of guitar solo and the structure is a bit different, but I appreciate the favorable review all the same ☺️
  4. Hey guys, I recently did a cover of Roxette's 80s hit "The Look" with the original studio vocals. Perhaps it's something you'll enjoy. and if you just wanna hear my instrumental
  5. Whether I start with a sketch or not depends whether I'm writing actual music or not. Though I never use piano for the former; guitar instead. The thing about a lot of purely orchestral music, past and especially present (definitely where film scores are concerned) is that it's a lot more — to use a euphemism — "textural" in nature. For such purposes, a piano sketch or something would not be accurately able to portray most of what's going to happen in the music, so it's better to just go straight to the orchestra or samples of.
  6. The announcement of the new movie really inspired me to compose a piece in the production style of early 2000s action-thriller movies like National Treasure and Tomb Raider. Let me know what you guys think!
  7. I saw the '93 Three Musketeers for the first time the other day, and felt inspired to write a tune that could be a 90s adventure TV series theme or something. Let me know what you think.
  8. The only soundset that is any good as far as notation programs go is Noteperformer 3 which is for Sibelius, Finale and Dorico. It's pretty inexpensive and sounds great. As an aside: I actually think the technology of Noteperformer is the way forward and that by the end of the 20s, will replace the out-dated tech, and frankly — musically-limited capability found in Kontakt-style libraries.
  9. With this week's reveal of the 3rd game (which scared the hell out of me as a kid) being remade, I wondered what that ominous little save room loop would sound like with the sound libraries I have. Let me know what you think
  10. You've misunderstood. I'm not talking about music technology, I'm talking about technology/scientific discovery in general. Western music would not exist if not for Greek discoveries in physics which basically gave way to the intervals and scales we all use, and German and French advancement polyphony, harmony, etc. that was built from those discoveries. For example, when Rameau's Treatise on Harmony came out in 1722, it was considered (probably still is) the most revolutionary work in western music: Describing the modern major/minor keys, the tonal system, and basically how to actually write music using the notes from the chromatic scale. That work is, almost to the year, 300 years old now. Since that time, and especially in the last 50-100 years since the end of the Romantic era, we have dramatically improved our understanding of the forces of nature that are responsible for us being able to create music at all. Despite that, and with the ability to share information to the world on a moment's notice, it has not yielded a discovery that has altered western music in the way that people from hundreds of years ago did. There hasn't been another "Treatise on Harmony", so to speak, in many generations. The evidence suggests that there is basically nothing about composing music that we are collectively ignorant on at this point — it is doubtful that this "next step" you refer to in your second post in this thread, is actually coming. The "vocabulary" (tools) has already been written. Futurist types would see this as disappointing. I, however, am grateful that our ancestors have already given us the "keys to the kingdom" so that we don't have to find them ourselves as they did.
  11. I don't actually buy this, no offense. It is true, however, that the aristocracy did influence music, but they didn't really influence "rules". The church and the tritone is probably on the only real strong-armed rule. I'd argue that the aristocracy went against the conventions and that's how we got "art" music, which has fallen out of favor in the centuries since, now that rich people have all kinds of other things to spend money on to flex on the peasants with. Most of that art music was intentionally composed differently from the peasant music because it had to be for the rich people to want to pay for it. They weren't going to pay for music that sounded like what all the commoners were playing, but if you look back on Beethoven, Mozart, and so on's most famous pieces of today — they are actually the ones that are closest to what normies of the day would've been listening to, which is quite similar to what we like about music today. The "rules" most people are referring to here are usually rules of counterpoint or sometimes acceptable harmonies. All of said rules had logical, at least for the time, reasons for being followed. In composing music, people have generally followed whatever doctrine gave them the most-consistently-satisfying results. In the time of the greats, they were simply using what knowledge was available to them at the time, or at least widely understood. This doctrine has expanded as our understanding of the physics of music and their effect on us has expanded. However, over the last 100 years, this doctrine has not changed very much despite massive leaps in the technology to understand it and ability to share information. This suggests that we are either at, or very near the borders of what tools can be utilized by a composer to create satisfying music — at least in the ears of 99% of people, it seems. and if you go back through time, and you analyze the most enduring classical pieces, folk music, etc. you will find that they have a great number of consistencies. Understanding what these consistencies are, and how to employ those same concepts in your own work, is where the "craft" comes from. That's why I'm a big advocate for learning that craft as much as we can; it gives you control over your music. You want to be in total control of what you're doing at all times. It makes composing music, and life in general, so much easier and fun. Because if anyone was going to throw those "rules" to the wind and stumble upon some better, more reliable method of creating music that would advance the craft to a whole new level of understanding and open up a complete new set of musical devices for us to use — then it stands to reason that it would've happened by now, since tons of people are breaking convention all the time, just out of sheer ignorance. With each passing year that it doesn't yield ground-breaking revelations, this point will become only more self-evident. As long as we focus on writing GOOD music and trying to master the craft, that's all that matters. Our own uniqueness/identity will shine through as the result of our own quirks, favoritism, habits, etc. that rise organically if you let them.
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