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Everything posted by nikolas

  1. YouTube - Ian Brown - Stellify Video Iain Brown ;)
  2. A little breakdown of what's what and what names what names... MIDI is digital information that contains NO SOUNDS. MIDI files are tiny (1-2 kb). Any MIDI event holds 127 different parts of information, with each part being divided into 127 segments... A MIDI event will tell the computer when the note starts and ends, what note it is, what octave, if it has pedal, if it has sustain, if it has modulation, pitch bend, and whatever else you might imagine. BUT NO SOUND. In order to get sound from midi you need either a GM (General midi module) in your soundtrack, that will put some ugly sounds on your MIDI files, or samples. Sibelius, Finale, Cubase, Sonar, you name it work with MIDI AND Audio. MIDI is not Audio. The reason that Sibelius sounds so bad is because the samples are bad (Finales' are not great either). EW: EastWest VSL: Vienna Symphonic Library Two of the most notable companies making sample libraries. You get a sample library and assign it to play one particular midi channel. When a note is played in midi channel 1, instead of triggering GM, it triggers your sampler with EW/VSL/Garritan/whatever sounds. This is how things get better. Heckel, a couple of things: a. Didn't you leave? b. It's Kontakt (from Native Instruments, or NI for short), and not Contact or kontact... ;)
  3. Sibelius is a NOTATION software and not a composing one. In the same league, but perhaps a tad better is Finale. Notion is even better but it's more of a mix betwen notation and sequencing. Sequencers like cubase, Sonar, Logic, Amplitude, etc offer much more control. In the end what matters is the sounds you are using. You could use VSL sounds, or EW sounds in Sibelius and get very good results, but what comes bundled with Sibelius or Finale is not really THAT good. The other factor that plays an important part is yourself, and your abilities in rendering. Considering you named Sibelius a "composing program" I may assume that you don't know much about music technology, in which case it can also be a factor in good vs bad quality in rendering midi files into audio ones.
  4. I actually think that if one would combine all of Gardeners posts in a book, many SHOULD buy it (and I would, to be honest!) Hail to you, Gardener!
  5. Actually this is not entirely true. (BTW, Tokke... You could link your website link to your signature and thus bring a few people to your website you know :P)It really depends on what website we're talking about here. For CGEmpire, or YC, or google every hit counts. But for a personal website, it doesn't matter teh sh!t. I mean there's not a single chance that anyone will land on your website by googling "music", or "mp3", or "composer". None whatsoever! Unless you have traffic of more than 10,000,000 hits per month or something (random number). A person website serves to 2-3 purposes: 1. Webfolio. Instead of sending CDs and resumes, you send a link (which can and should be updated). 2. Contact information. Instead of a business card, for anyone futher than "in your face". 3. To MAKE more people follow you (a blog for example). Having a website simply means you care enough to bother and make one on your own, or even better pay to have someone make one for you (the pro choice). This, in turn, means that you are more than 'just a kid around the corner who doens't have $80 per bloody year to pay for webhosting".
  6. AA, if you use a Neuton theory to apply... particle science and a breakthrough discovery... by all means. If you use Neuton theory to discover why oranges fall down (excuse the silly simplisity), then... probably not. I can't say in truth, whether I agree on how he was treated or not, because I simply have no facts to say anything. I've actually written a few fugues for my PhD and masters (2) and they were both very nicely accepted. So, from a practical point of view, I hardly see a point if that person was using Bach ideas in a 'creative manner' (up for discussion as well). But if someone came to me with a 18th century fugue and offered it, I would attempt to get a solid explanation from the composer, if it was the case I'd attempt to get him out of the corner or "I do what I like and that's about it" and I would offer alternatives and ideas to open the mind further. After all education is about learning "new" stuff and learning how to apply them, etc...
  7. Thanks for your post SSC! I hope we're clearer (both of us now). I would seriously hope that contemporary/modernists/whatever don't get free passes (although I do see this happening). The sheer amount of bullshit I've heard and seen in the academia is staggering (and maybe I'm not out of it either)... I got the impression, from the OP, that the person threatened was pretty much being 'unoriginal' (notice the ") and plagiarising heavily Bach, which is something I do object. There are slim chances of having a solid argument behind that in academia. I could very well expect something from you (assuming I "know" you as a person, SSC), and expect very solid arguments, but the way the OP was worded gave me no reasons to believe that, thus my initial post. And, yes, I believe you are generally active, and my post was provocative, as well as provoced. Sorry 'bout that! :)
  8. AA (And SSC, sorry I accidently brought your post back to life, before deleting it again): Maybe it's a language barrier, maybe I'm not communicating well enough... I don't see where I implied anything about progress, linear or whatever in my initial post here. In fact the words "progress" "evolution" "parallel", etc did NOT appear in my post. Let me try again. I use AN EXAMPLE. No it's not simmilar, it's pretty much apples to trains, as you mention it AA (then again I could be blind and confusion both... ;)). It is however an indication of MAYBE why academia acts as it does. I was aiming to explain what I think went on in that particular situation (and, yes offer my perspective if what I assumed was right) and I got all this... Geez...
  9. By 'shitting' all over the place? Well done, mate! ;)Would you like to calm down? Did you by any chance BACKED UP what you said and why you did it? Cause this is what I said. By all means. But if you consider that every PERSON is an individual, then the 'newness' should come from yourself. If you want to copy anyone then whoops... If you'd like to offer a different/new/whatever you want to call it perspective, then maybe, just maybe there's something new in there. But do define new before we get on... Why the "gently caress" should anyone enter the academia anyways? One of the main ideas behind degrees is that you offer your perspective on things, apart from just writing music like a machine. In which case you did exactly as you were told (I assume) and also followed the same reasoning I mention above. But you know what? I would expect such a strong opiniated and worded person like you to "loving" do something instead of complaining in an Internet forum. I do hope that you will spring the discussing onto the things that trouble you in that seminar, and would hope to get a 'report' afterwards, cause it would interest me. Yup. There is a difference between copying, plagiarising, following, admiring, being inspired, etc, but you already know that, right? I largely agree to that. But I find that there are tacticts to get what you want, and do what you want. Just bashing your head on a wall is not stellar strategy really...
  10. If you'd like to make a comparison (aimed not to AA, but to everyone) between music and... say physics you'd notice that if a student wanting to study mechanics in physics, using the rules of Neuton, or something would pretty much be laughed at and thrown out of any academic institution. What once was taught in a university is now a laughing matter for todays academics. Not so much because it's a bad theory, or whatever, but because simply science has moved forward immensly and there's nothing else to talk about in relation to those old theories, regardless of how clever, witty, incredibly accurate for the time they were. One of the roles of any academic institution is to push bounderies further. Whether be language, ethics, science, art or sports. Examinous friend probably got threatened (and actually rightfully so (I'll explain shortly), because he wasn't offering anything new and the academics found plagiarism as an excuse, while trying to explain to him what's wrong. A student of counterpoint can 'create' a fugue like Bach. Is it composition? Yes, it sure is. It's a piece of music that was composed. Is it suitable for academic writing? Not really... IF however, you can make an argument on why you prefer this kind of writting and why this IS useful to the world of contemporary music, then by all means... But the simple excuse "That's what I want to write" is a piss to the heads of academics. Do what you want but don't expect a degree for it. As a part of an educational system you are forced to do what you are told, even in composition. You don't get to write essays about your favorite subject, you don't get to do research on your favorite bouncing ball, you don't get to compose your favorite idiom. UNLESS you can back it up theoritically. And as it happens backing up an aesthetic belonging to the late 20th century/21st century seems much easier to explain rather than one that is part of the 17th... Once a composer (who they can very well be, outside academia and WITHOUT formal education, don't get me wrong) you do whatever you like! Simple as that. And nobody dictates what you work on (except your clients maybe? ;))
  11. It could be a language issue... Sound seems a verb to me, in your examples... And sound for me is also connected with noise, which is different, but still subcsonsiously it still is linked... I know it doesn't really help, but anyhow... :) Should read the blog link, and will do at some point, once I find a tiny bit of time!
  12. I own more than 500 bought books, regardless of photocopies (*ahem*). Talking about scores, cause there's also the theory/harmony/counterpoint/orchestration/midi/etc books.
  13. CO: Thanks for searching for me, but the competition you linked is for pianists, not composers, and it's dated in 2004... :-/ (unless I misread something, since I'm quite in a hurry). :) Thanks bud!
  14. It's difficult to divide it really. because if you do think about it all composers, classical, pop, rock, whatever wrote for commissions or promise of money. Beatles did, Radiohead did, Stravinksy did, John williams did, etc... I'd say that there is a dichotomy between music that is made in a professional level, and the composer needs to be paid, and that that is made out of pure pleasure and there is no monetary compensation. (<-notice that there is nothing to be said about quality in both forms).
  15. "Rules" ultimately are tools which help us work and compose music. The tools we choose are for our own choices and reasons pretty much. There is the selfish part in me which says that I'm too advanced in my aestetics (as a listener), so my compositions are also advanced in that sense... I'm too used to more 'advanced' or 'stretched out' or whatever you want to call it "rules" and I can't help it really. Even my commercial work is far more out from tonality than other composers. I'd hate to stick to Am-F-C-G (ala Zimmer)... although I've done it once and found out I was copying 2, not 1, different movie themes!
  16. Whlie I agree 100% with SSC, it's a matter of communication really, and I wouldn't stand too much on semmatics myself to keep discussing this issue. But I do agree that SSC is 100% right here, despite his harsh postings as always! ;)
  17. in that case my reply is simple: All the composers I've mentioned have pieces uploaded here in various threads. Listen and make up your own mind. If the fact that these people make a living out of composing is not enough, then maybe you can be a judge on your own. (Honestly, I'm not being sarcastic or anything). There's no reason in me telling you that I am, indeed, good. What would you expect? ;)
  18. What do you mean? If Marius, QcC, Robin, me, Nathan etc are "good" composers?
  19. And... where are you getting your info exactly? I'm getting commissions and if not in concert hall music, I do so from computer games. I'm sorry to break it to you but I make 80-90% of my living from composing alone! And, again... Where do you get your info? A concert hall composer can write music for duos, trios, solos, quartets and whatever other chamber ensemble there is. It's not THAT hard to get performed or to get commissions for that, if you're good. There's tons of competition, but it remains a fact that apart from being good you need to market your self. There also music for the media, who is rather close to "film music" and thus early 20th century classical music some times. There's ads, computer games, films, documentaries and whatnot to score. There are a few members here who have a perfectly decent idea of what's going on in the contemporary music world. Just because this is YOUNG composers forum and not young COMPOSERS forum it doesnt' mean that everyone is young and thus silly and ignorant (for you). I'd say that it's quite healthy to imitate someone at a younger age. Also, colleges do not largely prepare someone on how to make a living. This is the business part which is always different in real life, than in a uni. Colleges and universities teach you certain aspects on the craft/skill you want to learn. There are various classes about CVs, etc but it does remain that a university's job is not to find you work, but to make you equiped so you can do that on your own.
  20. Heh... I forgot I made this thread... I was actually considering composing something new, rather easier, in the form of 12 preludes, or a collection of shorter pieces. This way I could have a book of say 40-50 pages and excuse a price of around 15 GBP/30$. Maybe a collection of etudes, thus trying a little of on the educational side, as well. I would consider the CD, but I was thinking of 'augmenting' it with other recordings as well, so as to create a full length CD, and sell it normally as well and not part of the book. I, personally, don't like CDs being part of the book, since they provide a very strong opinion on how the pieces should be played and I'm quite against that. The score should do this job, not the CD. And yes promotion would include maybe recitals of some of these pieces, probably some videos in youtube, etc. On the idea of well known pianists, I would have to research on that, but I can always play my own stuff! CO: Linky on the competition, please? Thanks guys!
  21. This actually applies also to the UK and Greece, that I know of! ;)
  22. Depends on why you want to do it really...A Phd is a research degree most usually, which means that you are not being taught new things, but you research on your own. Ergo you could be doing it on your own, along with someone on your side, or without (in the place of a supervisor and a university above your head). There's absolutely no doubt that belonging in academia will force you to learn, work faster, etc. But it still remains questionable if you can do it outside the academia. Unis also offer a great range of other facilities and things to learn, and a clever student should take up on anything his/her uni offers! Final reason for going for a PhD is funding. I got a scholarship paying for my tuition fees, and also around $1000 per month for 3 years! I just thought myself that it beats working, and I also get a PhD in the end. So... why not really? (I was also interested in research, so it did fit my personality, right?) _____________ The paper itself is used on two places: 1. To teach in a uni, in return. You can't really do it without a PhD. 2. To get a chance in being heard when attempting to grab a gig. No. 1 is self explained. You want to teach in academia? You most probably need a PhD. Not exclusively, but the way things are headed most probably. No. 2 means that if you approach a potential client and go "Hi, I'm a composer", chances are they won't listen, but if you approach them with a "Hi, I hold a Phd in composition and I'm a composer", chances are that they may actually read the rest of the letter/e-mail and maybe even to your demoreels. As for money, for the UK. Tuition fees was ardoun 3250 GBP per year, so around 10,000 GBP for 3 years, plus living expenses, etc. This is for an EU student. For outside Europe fees sky rocketed at around 11,000 GBP per year (so 33,000 in three years). Lord Skye: What on earth are you talking about? As a degree PhD is pretty much on the top shelf (except for a post doctorate of course). The uni plays an important part, and in a practical sense a PhD candidate may know nothing against someone who's had lessons with... Messiaen (an example...), or Ligeti or someone ultra famous! But it still remains that a PhD holds a lot of weight really!
  23. Say, If I was to print my piano pieces into normal music book, have them printed professionally, bound, etc... (most probably new pieces that you've not heard) would anyone be interested in buying them? People who buy sheet music, can I check with them on prices please? Any other comments would be useful. Nikolas
  24. One needs to have in mind that the phychology of the performers might also play an important part. I"m sure Robin could find alternative ways to notate his music, but in fact his scores are better this way, since they allow a certain freedom, which brings out the personality of each individual. Same goes for other scores and non traditional notation scored... scores! :D
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