Nathan Madsen

Currently unused but I wrote this to test out some new software. Electronic and acoustic instruments mixed together. All music composed and produced by me and copyright Madsen Studios LLC. Concept 1

Laid back, happy, upbeat piece written for a chocolate bakery video game. All music written and produced by me. Copyright Madsen Studios LLC. Give Me Chocolate!!

Two cues (day and night) for the iPhone/iPod/iPad game Ninjatown: Trees of Doom! out on the app store. All music composed and produced by me and under copyright with Venan Entertainment. Ninjatown Trees of Doom! Day and Night cues

Written for an iPhone game called Hero Defense. All music composed and produced by me. Copyright Madsen Studios LLC. Crossroads Theme

Underlying tension drive this piece as a warrior prepares himself right before battle. All music composed and produced by me. Copyright Madsen Studios LLC. Right Before Battle

Very moody and atmospheric. Nice stuff. Having recently played through Dead Space for the first time... this song and it's description are quite effective! The ending was a bit abrupt. Not necessarily in terms of content but consider having the held notes linger just a bit longer then provide a nice fade out.

There were parts of the score that I enjoyed and other parts that I didn't like at all. All in all it was solid and effective at supporting the film but nothing that made me want to rush out and buy the soundtrack right away.

From what I've observed, absolutely not. I find many other factors play a more predominant role in how well you network and find work. Factors like how determined and focused a person is, how good the person is at networking and social elements, how talented they are, etc. I've never see someone turned down because of their race. I've never see one. Again, I've never observed this. Nope. It's just how good you are.

I use automation far more frequently. I can achieve the same thing by setting the note's velocity to a high level (usually at 110 or over) and keeping the track's volume automation low at the point. In reality, that's really all a notated dynamic is doing it's just a different method of inputting the data. "f" may be 100 while "ff" is 115 and so on. Since I mainly write in Logic or in Pro Tools (occasionally) I tend to use the piano roll much more often than the notation view. I find that I can edit the events much faster that way. Could just be me! ;)

The great thing about many DAW apps is that they all basically do the same thing. Sure they may change the name of certain functions or add or subtract the number of steps... but if you master one you can usually pick up another program more easily. Much akin to learning a third foreign language after having already mastered a second language.

Really? I listened to several of the demos and wasn't super impressed with them. I've heard other sample packages do just as well, if not better than Wallander. (Keep in mind GPO was not one of those packages :w00t:) Side note: Oh my God do the sax samples SUCK! Of course I have yet to find a very good saxophone sampler package but that's probably because I am a saxophone player and have very discreet ears for that instrument. Still, though, this sounds very much like MIDI to me. Not worth it.

That's not very much RAM considering that Vista grabs 1 gig to run just the OS itself. You need more memory. This is especially true if you start using high(er) quality, multi-layered samples. Your current set up just wouldn't be able to run a medium to large session at all. Sequencing program going well with Finale? What are you looking for a sequencer program? What are your goals? Do you want more of the features that come with a DAW like Cubase, Pro Tools and Sonar? What type(s) of music are you looking to write? Are you a student? If so, check out the academic pricing of most of these programs. (Folks have already pointed out that Logic is a Mac only application.) This could get you a decent program with a ton of features while sticking inside your budget. I started with Cakewalk Sonar way back in the day. Overall, it's great but has some issues. Here's the producer academic version: Buy Cakewalk SONAR 8 Producer Academic | Music Production Software | Musician's Friend Here's the studio academic version: Buy Cakewalk SONAR 8 Studio Academic | Music Production Software | Musician's Friend Read up on the differences between both. Nate

Yep, but added a few other points in so that it better applies to this discussion. :)

There is no "best music sequencer" out there. Questions like this are really flawed because they're just too broad, just too vague. It's like asking "what's the best color?" Depends on what your needs are and what the situation is. Each has it's own pros and cons. It's alot like shoes actually. Thousands of different brands and made from all kinds of different materials but they all have the same core function. Some work better in different situations than others will. So the best approach for you to take is to inventory your entire situation: *What type of music do you want to write? Does it involve realistic samples or synths or both? *What type of computer will you have to work with? PC or Mac? What are the specs of that computer? *What are you goals for your music? Just to pop on the web and have folks enjoy? To score a film? To be used for sketches for hopeful live performances later on? *How much money do you have to spend on something like this? *What type(s) of third party plug-ins do you want to use with this program? *How serious about this are you? Is this just a passing curiosity or something you're willing to dive head first into? (This helps us assess your willingness to take on steeper learning curves.) From there you'll have a better idea of what your needs are then start looking into each application and seeing how they measure up. This will give you MUCH better results than just hearing a bunch of folks proclaiming "program X is the bestest!" without any consideration to your situation and your goals. Finally let's say the OP is throwing this question up just to debate. Well the same applies because the better you present and defend your stance in a debate the stronger your case. Instea of just saying "I think Logic Pro is the best!" I could say "I think Logic Pro is the best for those working with Macs because it's $500 for the full pro version, comes bundled with four other programs and a slew of VST instruments and signal processing plug-ins, has strong video-scoring capabilities and features a wide variety of MIDI input like Event List, Piano Roll, Notation View and Hyper Editor." This way folks know that my answer applies to those with Macs and that budget range and not folks on PC with billions of money to blow. In that case, I'd recommend something else. It's all about context. Thanks, Nate

Hahaha, but you ARE! When you choose to use the computer as a tool for creating, and ultimately playing back your compositions, you are stepping into the roles of a composer-producer that works with synthesizers, samplers and basic audio production. Even if you realize it or not because you're basically doing the same tasks. Are you not using the built in VST instruments in Logic? Are you not using some of the synth sounds? You listed some, so yes you are. You're also working with MIDI which is a large part of music programming and you're probably burning your final mixes out to CD and/or an audio file to share with someone somewhere, right? You're using various plug-ins like reverb, chorus, EQ and others, so are you're acting as a musical producer/studio engineer in this regard. So how are you not "sintetizer maker, music programer, dj, sampler, etc?" I've only come across this attitude with a few folks on this website, but there seems to some that forget that once you start working with audio you're accepting the responsibility to make it sound good. To ignore this and willingly choose a machine that can handle only a small percentage of samples and tools available on the market is to limit your musical palette (electronically speaking of course). As a composer, I want to be able to work with the widest range of instruments, sounds and textures possible. This way I can keep exploring and come up with new, cool sounds in my work. (At least new and cool to me!) In very much the same vein to ignore or refuse to learn and grow more with your skills as it relates to audio is only limiting your production value which is how your listeners will receive and judge your work (if you're playing them the bounces from these sessions). Basically what I'm trying to say is: the more you invest in your studio, the more you'll get back from it. (Keep in mind the word invest is meant to imply both money and time spend studying and learning these skills.) To put it quite bluntly, don't use a cop-out "I'm just a composer" because it doesn't work when you're a composer electing to use the electronic medium. But hey... whatever works for you. Nate