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Looking for a composer - Commission.
Posted 9 years agoHi folks !
DannySkunk is looking for a composer to hire.
I'll let him explain that better than I
DannySkunk wrote:Me and a friend of mine are starting on a game review show. It's based on being able to game without blowing $60 every time you want to play a new game, so we'll usually be discussing older games. The show will be done with voice acting over footage and an image of the sort of "mascot" of our channel, who will kind of emote a bit in the bottom right corner. It'll all be in the pilot, which I hope the composer will watch first to get the general feel of the show. As for when the Pilot will be available for the composer, the current circumstances for the both of us make it uncertain, but we do have a lot of footage, and the basics of the writing down. We'll probably just tweak the script, do the voice acting, and then the editing. Maybe in a scale of weeks.
Anyway, As for the song itself, I was hoping to have something kind of catchy; something real short to play when the title card comes up, but with a good hook that people will kind of remember. I was hoping to have something that kind of goes with the feel of the show, to make it more memorable, but it's not a requirement in the strictest sense. I was also maybe thinking of doing a "Full version" for an end-slate. Something still a little short, but more filled out and loop-able so we can have end slates for varying lengths of time.
Since it's a game review show, I was hoping for a more chiptune/electronic sound, so I'd need a composer that would be willing to do something synthetic rather than with actual instruments. Although, I think me and my partner both agree that the sort of "club mix" sound isn't really what we're going for. Does that make sense? I hope it makes sense.
Voilà !
Don't hesitate to poke him for further details or for appliance !
Keep up the great work, guys !
~Karuno
DannySkunk is looking for a composer to hire.I'll let him explain that better than I
DannySkunk wrote:Me and a friend of mine are starting on a game review show. It's based on being able to game without blowing $60 every time you want to play a new game, so we'll usually be discussing older games. The show will be done with voice acting over footage and an image of the sort of "mascot" of our channel, who will kind of emote a bit in the bottom right corner. It'll all be in the pilot, which I hope the composer will watch first to get the general feel of the show. As for when the Pilot will be available for the composer, the current circumstances for the both of us make it uncertain, but we do have a lot of footage, and the basics of the writing down. We'll probably just tweak the script, do the voice acting, and then the editing. Maybe in a scale of weeks.
Anyway, As for the song itself, I was hoping to have something kind of catchy; something real short to play when the title card comes up, but with a good hook that people will kind of remember. I was hoping to have something that kind of goes with the feel of the show, to make it more memorable, but it's not a requirement in the strictest sense. I was also maybe thinking of doing a "Full version" for an end-slate. Something still a little short, but more filled out and loop-able so we can have end slates for varying lengths of time.
Since it's a game review show, I was hoping for a more chiptune/electronic sound, so I'd need a composer that would be willing to do something synthetic rather than with actual instruments. Although, I think me and my partner both agree that the sort of "club mix" sound isn't really what we're going for. Does that make sense? I hope it makes sense.
Voilà !
Don't hesitate to poke him for further details or for appliance !
Keep up the great work, guys !
~Karuno
Eurofurence music related panels, announcing our new admin
Posted 9 years agoHi everyone !
Back after a hiatus. Answered pending notes and added new composers to the list !
Welcome to
TheZeshOne and 
Chrispy-Audioshi, respectively in the Electro Composers Section and Game and Movie Composers Section.
Feel free to check their work !
From now on I'll have everyone I add announced here !
I'm also glad to welcome
tonyasong in the team. For those who don't know her, Tonya is a professional choir director, composer and performer -she plays too many instruments to list XD. She is going to help maintaining the group ; with our joined forces, we're gonna make a serie of tips and learning ressources for composers.
For those who remember, she's the one who wrote a testimony of her days in the Hollywood industry. I've shared her thoughts back then on a journal here
I HIGHLY invite you to check her work, especially if you like classical music !
I'm also glad to announce some Eurofurence events !
This year, there will be a couple of panels related to music, and 3 specially inclined toward composers and music makers.
I'd like to point out
-
covahr panel about the creation of the melody. I don't think I'll make a breakthrough statement saying the melody is part of the holy trinity of music (melody, rythm, harmony), and is maybe the most important of all three. It's what make music really different one from another.
is going to analyze some musical themes from famous composers from the movie and game industry, and explain why those melodies simply work and how they impact the emotions.
More informations on the panel on the EuroFurence official panel description THE EMOTIONAL HOOKLINE
PREREQUISITES : Basic note reading. Nothing more.
-
gmorkh is going to give Reaper some exposition !
Reaper is simply one of the best quality/price DAW out there. A powerful tool for a very reasonnable price (basically free if you make no profit off your music), and it comes with nice effects that match up to bigger companies bundled with the software.
is going to speak about the very basics of MIDI compositions (use of DAW, MIDI, VST and common effects, and maybe automation). The idea is you can replicate the same kind of music without spending a penny, directly out of the panel !
An example of Gmorkh's music can be found at http://goatzill4.bandcamp.com/
Gmorkh is also going to announce and release "ENTER THE KOSMOS", his new album, at EF22
More informations on the panel on the EuroFurence official panel description REAPER : WRITE/RECORD MUSIC NOW
PREREQUISITES : None.
- Finally,
karuno (myself) panel about MIDI orchestration and how to achieve a realistic orchestral mockup.
Those who attended last year can expect the same format. I'll deconstruct a track of mine, The Hatching of the Phoenix, to explain how it is built, and how to make everything coming together. We'll also discuss instrument symbolism, harmonies and ambiance creation and lastly, how to put this into computerized datas with the feel of a real orchestra performance.
More informations on the panel on the EuroFurence official panel description COMPOSING FOR ORCHESTRA : USING MIDI TECHNOLOGIES
PREREQUISITES : Basics DAW knowledge.
That's all from now, folks !
Can't wait to meet some of you at Eurofurence !
Your host
karuno
Back after a hiatus. Answered pending notes and added new composers to the list !
Welcome to
TheZeshOne and 
Chrispy-Audioshi, respectively in the Electro Composers Section and Game and Movie Composers Section.Feel free to check their work !
From now on I'll have everyone I add announced here !
I'm also glad to welcome
tonyasong in the team. For those who don't know her, Tonya is a professional choir director, composer and performer -she plays too many instruments to list XD. She is going to help maintaining the group ; with our joined forces, we're gonna make a serie of tips and learning ressources for composers.For those who remember, she's the one who wrote a testimony of her days in the Hollywood industry. I've shared her thoughts back then on a journal here
I HIGHLY invite you to check her work, especially if you like classical music !
I'm also glad to announce some Eurofurence events !
This year, there will be a couple of panels related to music, and 3 specially inclined toward composers and music makers.
I'd like to point out
-
covahr panel about the creation of the melody. I don't think I'll make a breakthrough statement saying the melody is part of the holy trinity of music (melody, rythm, harmony), and is maybe the most important of all three. It's what make music really different one from another. is going to analyze some musical themes from famous composers from the movie and game industry, and explain why those melodies simply work and how they impact the emotions. More informations on the panel on the EuroFurence official panel description THE EMOTIONAL HOOKLINE
PREREQUISITES : Basic note reading. Nothing more.
-
gmorkh is going to give Reaper some exposition ! Reaper is simply one of the best quality/price DAW out there. A powerful tool for a very reasonnable price (basically free if you make no profit off your music), and it comes with nice effects that match up to bigger companies bundled with the software.
is going to speak about the very basics of MIDI compositions (use of DAW, MIDI, VST and common effects, and maybe automation). The idea is you can replicate the same kind of music without spending a penny, directly out of the panel !An example of Gmorkh's music can be found at http://goatzill4.bandcamp.com/
Gmorkh is also going to announce and release "ENTER THE KOSMOS", his new album, at EF22
More informations on the panel on the EuroFurence official panel description REAPER : WRITE/RECORD MUSIC NOW
PREREQUISITES : None.
- Finally,
karuno (myself) panel about MIDI orchestration and how to achieve a realistic orchestral mockup.Those who attended last year can expect the same format. I'll deconstruct a track of mine, The Hatching of the Phoenix, to explain how it is built, and how to make everything coming together. We'll also discuss instrument symbolism, harmonies and ambiance creation and lastly, how to put this into computerized datas with the feel of a real orchestra performance.
More informations on the panel on the EuroFurence official panel description COMPOSING FOR ORCHESTRA : USING MIDI TECHNOLOGIES
PREREQUISITES : Basics DAW knowledge.
That's all from now, folks !
Can't wait to meet some of you at Eurofurence !
Your host
karunoFA Outage and some words from our dear community member Onic
Posted 9 years agoHey guys !!!
Have you might have noticed (Of course you do. We furries are addicted to FA), FurAffinity has been restored to a backup ~older than a week.
Every note, submission, commentary or shout made the week before the outage is LOST.
I invite you if you tried to contact Composers to renew your attempt so I can sort all your messages.
And now I'm leaving you on those wise words by
onic Show him some love, he's a great fellow and both his music and him clearly deserve it ! :D
Take care and keep up the great work !
karuno
The music scene here on FA's main page often causes me great distress. I have been increasing my efforts to click on the latest submissions in the audible category to see what I discover, in the hopes I can find some new artists or maybe have a conversation. What I find instead is a maelstrom of excuses of every kind.
"Sorry the quality is so bad"
"I'm not really good at this"
"This isn't finished so don't judge"
These are just a few recurring phrases I see in the descriptions of many submissions. Here's what I say in response:
Own your craft.
We are all artists here in some way, and the last I checked most of us do not come looking for apologies. We look for craftsmanship and the products of imaginative hearts. So make bad music, unfinished projects, low quality recordings. If you truly love what you do, just share it with us. Don't apologize for its shortcomings. Don't excuse yourself from perfection, strive for it! Ask questions about how you can improve rather than bemoan the lack of quality in your work. Take yourself seriously. Think of ways to expand, to make the best of what you have, and then actually do it.
Love what you do and own it. It's yours.
A musician should never apologize for their performance before giving it. To do so establishes the audience's expectation that they are not receiving the top performance. How much more impressive would it be to say "Yeah, I'm not really in my groove today" after the audience has listened and been impressed? They think to themselves, "That was great! He must be even better when he's on his game!"
If you're covering a song, great! You're learning from other musicians.
If you're voice is a bit pitchy, great! You're not letting your ego stop you from singing.
If you're still trying to wrap up a song ending, great! You're opening yourself to (hopefully) constructive input and broadening you're musical horizons.
Whatever you do, don't allow your excuses to stagnate your work. How can you hold yourself to a standard as high as perfection without working toward it? There will be ugly, odd, awkward moments along the way. You'll wonder what you are thinking, to open yourself up to ridicule by posting these incomplete melodies or unmixed song files. In short, there will be bad days. But you will grow as a musician and we will all benefit from the process of listening and interacting until we can each achieve our personal masterpieces.
Thoughts? Opinions? I'm all ears.
PS - This journal is not directed at any singular individual by any means. I have a desire to see people motivated and creating, and any obstacle to that goal is a personal enemy.
Original journal
Have you might have noticed (Of course you do. We furries are addicted to FA), FurAffinity has been restored to a backup ~older than a week.
Every note, submission, commentary or shout made the week before the outage is LOST.
I invite you if you tried to contact Composers to renew your attempt so I can sort all your messages.
And now I'm leaving you on those wise words by
onic Show him some love, he's a great fellow and both his music and him clearly deserve it ! :DTake care and keep up the great work !
karuno
The music scene here on FA's main page often causes me great distress. I have been increasing my efforts to click on the latest submissions in the audible category to see what I discover, in the hopes I can find some new artists or maybe have a conversation. What I find instead is a maelstrom of excuses of every kind.
"Sorry the quality is so bad"
"I'm not really good at this"
"This isn't finished so don't judge"
These are just a few recurring phrases I see in the descriptions of many submissions. Here's what I say in response:
Own your craft.
We are all artists here in some way, and the last I checked most of us do not come looking for apologies. We look for craftsmanship and the products of imaginative hearts. So make bad music, unfinished projects, low quality recordings. If you truly love what you do, just share it with us. Don't apologize for its shortcomings. Don't excuse yourself from perfection, strive for it! Ask questions about how you can improve rather than bemoan the lack of quality in your work. Take yourself seriously. Think of ways to expand, to make the best of what you have, and then actually do it.
Love what you do and own it. It's yours.
A musician should never apologize for their performance before giving it. To do so establishes the audience's expectation that they are not receiving the top performance. How much more impressive would it be to say "Yeah, I'm not really in my groove today" after the audience has listened and been impressed? They think to themselves, "That was great! He must be even better when he's on his game!"
If you're covering a song, great! You're learning from other musicians.
If you're voice is a bit pitchy, great! You're not letting your ego stop you from singing.
If you're still trying to wrap up a song ending, great! You're opening yourself to (hopefully) constructive input and broadening you're musical horizons.
Whatever you do, don't allow your excuses to stagnate your work. How can you hold yourself to a standard as high as perfection without working toward it? There will be ugly, odd, awkward moments along the way. You'll wonder what you are thinking, to open yourself up to ridicule by posting these incomplete melodies or unmixed song files. In short, there will be bad days. But you will grow as a musician and we will all benefit from the process of listening and interacting until we can each achieve our personal masterpieces.
Thoughts? Opinions? I'm all ears.
PS - This journal is not directed at any singular individual by any means. I have a desire to see people motivated and creating, and any obstacle to that goal is a personal enemy.
Original journal
Announcing 2016 improvements
Posted 10 years agoHi everyone !
As some of you may know, there was a spotlight originally planned to be each month. As neither myself or luchs could dedicate the time to do it properly, and since our fellow musicians at
furrymusicians did it on a more steady basis, the spotlight kinda dropped.
I still want to highligh the talents in our community, though. And wondered how we could help our fellow fluffy composers to grow as musicians. After thinking about it a while, evaluating my availability as a host, and contacted a couple of co-workers and contacts I've made over the year on Furaffinity and Weasyl, I've planned to have a series of journals-interviews with professional musicians of the furry fandom.
It's especially hard as a beginner to get a place in the music world dominated by major productions, and the competition is very tough. The aim behind those journals is to help you getting the benefit of the experience of seasoned musicians, getting advice on how to promote your art, assuming your style choices, and maybe finding yourself growing into the next generations of iconic musicians.
I would like as such to introduce :
judaswolf.
For those who would not know him, Judas Wolf has performed as support artist for huge names in the metal industry (Apocalyptica, Sonata Arctica, Queensryche, Diamond-head.... to name a few), with over 10 years of gigs behind him.
He is currently endorsed by several brands which include Engl, the Amp manufacturer, and Maxon, the pedal and FX maker.
I'm happy to announce him as our first guest on the monthly interview series !
What questions would you like to be answered* ? Do you know any professional that would take part of future interviews ?
* Your question might be reformulated to be more vague / more specific depending on our guest.
As some of you may know, there was a spotlight originally planned to be each month. As neither myself or luchs could dedicate the time to do it properly, and since our fellow musicians at
furrymusicians did it on a more steady basis, the spotlight kinda dropped.I still want to highligh the talents in our community, though. And wondered how we could help our fellow fluffy composers to grow as musicians. After thinking about it a while, evaluating my availability as a host, and contacted a couple of co-workers and contacts I've made over the year on Furaffinity and Weasyl, I've planned to have a series of journals-interviews with professional musicians of the furry fandom.
It's especially hard as a beginner to get a place in the music world dominated by major productions, and the competition is very tough. The aim behind those journals is to help you getting the benefit of the experience of seasoned musicians, getting advice on how to promote your art, assuming your style choices, and maybe finding yourself growing into the next generations of iconic musicians.
I would like as such to introduce :
judaswolf. For those who would not know him, Judas Wolf has performed as support artist for huge names in the metal industry (Apocalyptica, Sonata Arctica, Queensryche, Diamond-head.... to name a few), with over 10 years of gigs behind him.
He is currently endorsed by several brands which include Engl, the Amp manufacturer, and Maxon, the pedal and FX maker.
I'm happy to announce him as our first guest on the monthly interview series !
What questions would you like to be answered* ? Do you know any professional that would take part of future interviews ?
* Your question might be reformulated to be more vague / more specific depending on our guest.
Orchestra composers - an interessing Youtube video series.
Posted 10 years agoHey everyone. I know many of you aren't into orchestral stuff. In fact, most of you create amazing electro soundtracks, breathtaking rock and metal pieces, as well as very sweet pop and acoustic musics.
There's another field many of us on furaffinity explore. And most of us are self taught in that domain.
I'm talking about the "soundtrack" genre.
While soundbanks are making amazing progresses in emulating orchestra, it's very important to have a good knowledge of each instrument of each family, in order to make sure everything you write can actually be performed by an actual orchestra.
If you ever think "why should I bother ? I am not planning on getting this played by an actual orchestra"... Well, it's fine. But if you want to be serious about your music, and if you want to trick even musicians in your mockups, if you want them to recognize your talent, or simply want to improve your productions, you -have- to know your instrument. So many times I heard about fellow composers, finally having a chance to get their music performer, only to be laught at by the orchestra players who said
"No way to play this trill on my instrument"
"That ffff is impossible to play in this register"
"I can't sustain a note that long without rebowing/taking a breath"... Etc...
Not only this can prevent you from working with them in the future (musicians have long time memory), it can also make you loose your money - the studio is booked and has to be paid, and so are the musicians.
That is why it is very important to know the limits and abilities of the instrument/sections you are using.
People from Cinesamples (amazing libraries, get them for Christmas ! :D) dedicated their time and passion to make a serie of interview with the instrumentists they perform with, some of them even performed in Game of Thrones, League of Legend, Avatar, etc... soundtracks !
They explain the -good to know- stuff and what to avoid in order to create performable pieces of orchestral music.
Starting with the French Horn, as it's one of the most characteristic instrument in movie scores.
There's another field many of us on furaffinity explore. And most of us are self taught in that domain.
I'm talking about the "soundtrack" genre.
While soundbanks are making amazing progresses in emulating orchestra, it's very important to have a good knowledge of each instrument of each family, in order to make sure everything you write can actually be performed by an actual orchestra.
If you ever think "why should I bother ? I am not planning on getting this played by an actual orchestra"... Well, it's fine. But if you want to be serious about your music, and if you want to trick even musicians in your mockups, if you want them to recognize your talent, or simply want to improve your productions, you -have- to know your instrument. So many times I heard about fellow composers, finally having a chance to get their music performer, only to be laught at by the orchestra players who said
"No way to play this trill on my instrument"
"That ffff is impossible to play in this register"
"I can't sustain a note that long without rebowing/taking a breath"... Etc...
Not only this can prevent you from working with them in the future (musicians have long time memory), it can also make you loose your money - the studio is booked and has to be paid, and so are the musicians.
That is why it is very important to know the limits and abilities of the instrument/sections you are using.
People from Cinesamples (amazing libraries, get them for Christmas ! :D) dedicated their time and passion to make a serie of interview with the instrumentists they perform with, some of them even performed in Game of Thrones, League of Legend, Avatar, etc... soundtracks !
They explain the -good to know- stuff and what to avoid in order to create performable pieces of orchestral music.
Starting with the French Horn, as it's one of the most characteristic instrument in movie scores.
On trailer music - and movie scoring in general.
Posted 10 years agoThe videos speak for themselves.
Eurofurence Composers Meeting Report.
Posted 10 years agoHi everyone !
As I told you guys a couple of months ago, I held a composers meeting at Eurofurence, which turned out to be more successful than I expected.
Many people came, a couple of people leaved before the end, which kinda worried me that I was not getting interests in the attendees. Turned out my allocated time of 1h30 (which was very scary at first since I did not expect to fill so much time) spread to 2h30 without much effort but also without me realizing how long it had become. I even had to cut some parts to end before the next panel begin ! This mostly due to the fact I got many interactions with people, who were very engaged.
I got many positive returns, and some of the people who leaved told me they were not composers, just curious, and that their schedules needed them somewhere else. I had people thanking me afterwards and a little chat with the fellow composers in there.
So here's my question :
Considering the success of that first panel, I consider making a new one for next Eurofurence !
Do you guys have any idea of what subject you would like to be features? Any questions, any idea?
I look forward to see you next year at Eurofurence. I will make the most of it !
karuno
As I told you guys a couple of months ago, I held a composers meeting at Eurofurence, which turned out to be more successful than I expected.
Many people came, a couple of people leaved before the end, which kinda worried me that I was not getting interests in the attendees. Turned out my allocated time of 1h30 (which was very scary at first since I did not expect to fill so much time) spread to 2h30 without much effort but also without me realizing how long it had become. I even had to cut some parts to end before the next panel begin ! This mostly due to the fact I got many interactions with people, who were very engaged.
I got many positive returns, and some of the people who leaved told me they were not composers, just curious, and that their schedules needed them somewhere else. I had people thanking me afterwards and a little chat with the fellow composers in there.
So here's my question :
Considering the success of that first panel, I consider making a new one for next Eurofurence !
Do you guys have any idea of what subject you would like to be features? Any questions, any idea?
I look forward to see you next year at Eurofurence. I will make the most of it !
karunoComposer meeting at Eurofurence - Spread the word !
Posted 10 years agoHi everyone ! It's been a while, and I know, I should speak more often here. I'm actually planning on doing a series of upload aimed at our friendly composer community !
Aside from that, I am glad to announce that I am hosting a composer meeting at Eurofurence. It's mainly diriged at orchestration for libraries, since this is the field I am feeling the most proefficient with, but since the panel is about 1h30 long, I am planning on having more people expanding the other genres you can mix orchestra with. Any participation is welcome.
It's no secret that writing for samples is a pain in the undertail. Even the best idea, the sweetest melodic line, can be ruined by the robotic interpretation of your computer.
After years of experiments and after gathering some of the best orchestral libraries on the market, I can present you some of the techniques that makes a midi orchestration less obvious, and might trick the ear of your listener !
Here's the panel informations for your reference. I would be very happy to see you there, and everyone is welcome !
http://www.eurofurence.org/EF21/sch.....ts/820.en.html
Should you have friends and wannabe composers attending Eurofurence, don't hesitate to invite them ! There's no knowledge required to understand what will go on there !
Feel free to bring cookies and other beverages. I'll bring some ! :D
Aside from that, I am glad to announce that I am hosting a composer meeting at Eurofurence. It's mainly diriged at orchestration for libraries, since this is the field I am feeling the most proefficient with, but since the panel is about 1h30 long, I am planning on having more people expanding the other genres you can mix orchestra with. Any participation is welcome.
It's no secret that writing for samples is a pain in the undertail. Even the best idea, the sweetest melodic line, can be ruined by the robotic interpretation of your computer.
After years of experiments and after gathering some of the best orchestral libraries on the market, I can present you some of the techniques that makes a midi orchestration less obvious, and might trick the ear of your listener !
Here's the panel informations for your reference. I would be very happy to see you there, and everyone is welcome !
http://www.eurofurence.org/EF21/sch.....ts/820.en.html
Should you have friends and wannabe composers attending Eurofurence, don't hesitate to invite them ! There's no knowledge required to understand what will go on there !
Feel free to bring cookies and other beverages. I'll bring some ! :D
Free plugin offer ! A great opportunity !
Posted 11 years agoEverything is said in my personnal journal, which I invite you to read THERE
Don't miss it, fellows. I got myself a couple of copies :P
Interessing conference about scoring in LA
Posted 11 years agoAs some of you might remember our last journal from April, 12th, here's a conference with some professional discussing about the situation.
http://vimeo.com/54047029
No need to repeat what both
juniper_squirrel and myself said back then, I assume. It's all in the previous journal :P
~K.
http://vimeo.com/54047029
No need to repeat what both
juniper_squirrel and myself said back then, I assume. It's all in the previous journal :P~K.
Communication from LymmeltyteX
Posted 11 years ago
A friend of mine is search for a/some hobby composer/s interested into a request job (the projects are both non-commercial so there wont be any payment sadly but i guess asking is free after all)
His name is GaiasRebirth and is mainly activ on DeviantArt and needs
- A bgm composer for the Remake of Dark Cloud: http://plzgaiasrebirth.deviantart.c.....llery/49077191
- And another composer for Megagirl Limitless, what is mostly a fusion of the Classic and the X series of megaman : http://plzgaiasrebirth.deviantart.c.....llery/48514192
Skype would be helpful for communications sake.
If some people are interessed, please check this oppurtunity
Take care you all !
K.
Concerning film music industry ; Hollywood ain't no paradise
Posted 11 years agoWant to be a film music composer? Here's some interessing facts you should know :
http://variety.com/2014/music/news/musicians-union-holds-rally-to-protest-outsourcing-of-film-scoring-jobs-1201155669/
There was a time when I wanted to be exclusively a film composer. I was always fond of the scores that Jerry Goldsmith, John Williams, and the like would come out with. My early works reflect very much a Hollywood style to them, at least, middle-aged Hollywood and not recent Hollywood. However, when I was studying composing in Los Angeles, the very city to be learning that sort of thing, and getting the opportunity to work in the actual industry on a sort of "intern" basis, I actually got some hands on experience with people from the industry, and... it was less than pretty. I'll leave the details aside and say that it's just a very corrupt and toxic environment. If you're anyone but an A-lister who's well known, you're dirt to most people.
Now about film composers:
One of the reasons I left the Hollywood industry was the money. The composers are some of the lowest of the low in terms of pay, especially when you consider how much of a bearing the music can have on the effect of the final film. The composers I am speaking about are the average film composer (not the A-lister), one who works on B-list or low budget films OR positions you hold other than being the main composer for a film, that is, the assistants (who compose music that they do not receive any credit for), editors, orchestrators, and other secondary positions. The figures you will find online will seem high at first: the average is somewhere between $50,000 and $300,000 for a movie (David Bell: "Getting the Best Score for Your Film"), but this is before you take into account the expenses that the composer has to pay for to produce a professional sounding score. This means hiring professional musicians, getting professional studios, sound people, production, assistants, orchestrators etc. Whatever the composer is left with is his REAL pay. Even worse, as the article states, studio musician work in Los Angeles has been in decline as much as 50% in the past few years, and this is one of the reasons I had decided to leave LA. it is not the musician/art oasis that it makes itself out to be.
The second issue is some of the treatment you receive while at work. There is an overwhelming amount of oversight sometimes, and while it sounds like "oh well you have to do what people ask" it's far worse than it seems. Many people tell stories about how they were forced to do the laundry of the people they worked for, and did other very demeaning tasks in order to get the jobs they wanted. What was sad is how proud they were about it, like "OMG I got to do Hans Zimmer's laundry, that was such an honor!!" No thanks, I won't demean myself like that. Also, nowadays the creativity is very diminished and this is in part reflects the current trend that Hollywood is following of producing half-assed remakes with overly flashy effects: the music is made up more of synthesized drums, strings with ungodly amounts of reverb, and over the top horn lines that without computer editing would sound like shit. Possibly, that would all be topped off with a generic exotic string instrument if the movie takes place somewhere other than in the west. Gone are the days when a composer did their investigation on the music of a certain part of the world, and reflected it in the score, and gone are the days when the orchestration was colorful and creative.
Ultimately, I decided I'm much more effective in the concert setting and can make a much better living producing this kind of music that I am producing now, and I am doing well for myself, every year my situation is improving and I am getting more and more on commission.
Now for the musicians who are protesting:
This is a perfect reflection of how Hollywood is starting to concentrate the winnings to a few select groups within a production. Movie budgets and winnings are higher than ever and yet more and more, movie productions are sending more parts of the productions overseas in order to save every last buck they can, which i have no idea where those go, maybe to give the actors more bonuses? I'm not sure. Musicians of course are among the losers. Let me give you a perspective on what a professional musician asks for. I charge $200-300 to perform for a one hour gig (this can be on piano, organ, percussion, or flute), and I'm considered fairly entry level. A professional, in order to put in the practice that is required and then perform the piece, requires something more like $600 or so per hour, and then add to that the amount of time it would take to record an entire film score. And an orchestra would be at the smallest 35 pieces. This totals somewhere about $63,000 for an orchestra at the lower estimate. These musicians are not being greedy, this is a very modest living they would be making, especially if they live in a city that is as expensive as Los Angeles, and in the grand scheme of things, this is VERY low considering the budgets that some of these new movies command and considering the fact that the music can make or break a movie.
tl;dr:
Bottom line, working in Hollywood is not even close to the glamorous stories you're told; the work environment is horrible, the abuses of power are blatant, the creativity has plummeted in the past few years. And most importantly, the pay is not what you think it is, it's bad, and it's a big reason I left and now am living my dream doing music out in different venues, and it has been the best decision I have ever made. It is sad to see that with the budgets Hollywood commands that it is resorting to hiring musicians from out of the country to keep saving those little extra bucks and screwing over Los Angeles studio musicians. I really don't see how this situation in the article will be helped. I don't see what can possibly be done to bring the studio musician jobs back to the US, and back to Los Angeles specifically, where they SHOULD be.
Journal written originally by Juniper_Squirrel , displayed here with Juniper's kind permission :3
I can only confirm what have been said. Juniper's experience with Los Angeles is a bit different of the way things work in Europe (London, Paris, Berlin, Vienna...) but to sum it up : you're as screwed as your US friend. In Europe, the laws on copyright garantee you a percentage on the incomes a movie makes. But producers are as greedy in Europe as they are in the USA. Either they will force you to abandon your right to a percentage (If you "agree" and sign a contract, they will definitely rob you those rights). The fact is, you will work for peanuts most of the time :
- For a 26mn movie, expect no pay at all. "That will make you more visible, having your name on the credits and such project to add to your resume is already something worth working for" is basically what you will be told about 95% of the time. Directors are powerless on this situation, given their own pay for the movie (when they get paid)
- For a 52mn movie, expect maybe 4000€. Given most studios and productions are located in the capitals (London, Paris, etc...), where life is insanely expensive, expect your pay to vanish in about two month of rent*. You haven't eaten, paid for your car, insurrance, got your licenses for the softwares** and your production devices, etc...
*You could say "I don't need to be on (let's say) Paris to compose. I can do it away and sent the music to the director. Yeah. I though that too. And I am moving to Paris after the current movie I'm working on is finalized.
** I will make a journal about studios and legal issues in most european countries. Most of you (an immense majority) think they can pirate their softwares and make money out of the music they create with this. Well... Nope.
- For a 90mn+ movies, the pay is variable but can go up to 50k€. You think it's a lot? Pay the London Symphonic Orchestra, the Orchestre National de Paris, the Berliner Philharmonik... And see what's left after that
The money generated by the music is estimated by the contract you signed. This fraction of the income is to be divided by 3. The composer (you) gets 1/3, the producer, as "he made the production possible by bringing the money in the first place", gets another 1/3, the editor keeps the last 1/3. Often the producer won't bother hiring an editor that would potentially spread your music on radio, TV or anywhere else. They often get the label of editor to get this 1/3 but won't do the proper job of communication that is expected from a real editor. What does that mean? That means over 100€ you made with your music, you keep 33€, the producers keeps 66€. I haven't talked about taxes yet. PLUS, the music being not spread to TV and radio, you loose all the royalties you could have got. Again, you're screwed.
There is countless of ways to get robbed by the producers. And they know every one of them. There is no friendly, cozy work environnement when you are a film music composer. 95% of the cases, you are the lowest person involved in the creative process. Litterally the lowest. You are nobody, and you're here to bring the 35% of the movie for the least amount of money possible.
"Okay, I can deal with stress and don't need a lot of money to live"
That's forgetting how single minded the producers are. You think you will compose your own music?
Forget about it ! Begginners compose Zimmer-style. Because "that works". Very few of us can actually compose the music they would feel "perfect" on the pictures ; producers want a big, fat sound, like in "The Dark Night". Two chords of horns and some strings staccati, and you're getting hurrays from the producer. Anything a bit creative, new, is considered "risky" and gets rejected if the producer think about his money (trust me, he does!)
No money, low esteem from the producer and the director, and no creativity encouraged (or even tolerated)... The composers' work is really tough for most, sometimes even not allowing to sustain on the job. I advise people who want to work in that industry to prepare themselve before considering to turn their dream into nightmare. Like my friend Juniper said, this is NOT the oasis Hollywood documentaries and DVD/Bluray bonuses display.
TL;DR : For those who don't want to read the whole stuff, here is a one phrase summary
If you have any question on that topic, I'd be glad to answer
karuno
http://variety.com/2014/music/news/musicians-union-holds-rally-to-protest-outsourcing-of-film-scoring-jobs-1201155669/
There was a time when I wanted to be exclusively a film composer. I was always fond of the scores that Jerry Goldsmith, John Williams, and the like would come out with. My early works reflect very much a Hollywood style to them, at least, middle-aged Hollywood and not recent Hollywood. However, when I was studying composing in Los Angeles, the very city to be learning that sort of thing, and getting the opportunity to work in the actual industry on a sort of "intern" basis, I actually got some hands on experience with people from the industry, and... it was less than pretty. I'll leave the details aside and say that it's just a very corrupt and toxic environment. If you're anyone but an A-lister who's well known, you're dirt to most people.
Now about film composers:
One of the reasons I left the Hollywood industry was the money. The composers are some of the lowest of the low in terms of pay, especially when you consider how much of a bearing the music can have on the effect of the final film. The composers I am speaking about are the average film composer (not the A-lister), one who works on B-list or low budget films OR positions you hold other than being the main composer for a film, that is, the assistants (who compose music that they do not receive any credit for), editors, orchestrators, and other secondary positions. The figures you will find online will seem high at first: the average is somewhere between $50,000 and $300,000 for a movie (David Bell: "Getting the Best Score for Your Film"), but this is before you take into account the expenses that the composer has to pay for to produce a professional sounding score. This means hiring professional musicians, getting professional studios, sound people, production, assistants, orchestrators etc. Whatever the composer is left with is his REAL pay. Even worse, as the article states, studio musician work in Los Angeles has been in decline as much as 50% in the past few years, and this is one of the reasons I had decided to leave LA. it is not the musician/art oasis that it makes itself out to be.
The second issue is some of the treatment you receive while at work. There is an overwhelming amount of oversight sometimes, and while it sounds like "oh well you have to do what people ask" it's far worse than it seems. Many people tell stories about how they were forced to do the laundry of the people they worked for, and did other very demeaning tasks in order to get the jobs they wanted. What was sad is how proud they were about it, like "OMG I got to do Hans Zimmer's laundry, that was such an honor!!" No thanks, I won't demean myself like that. Also, nowadays the creativity is very diminished and this is in part reflects the current trend that Hollywood is following of producing half-assed remakes with overly flashy effects: the music is made up more of synthesized drums, strings with ungodly amounts of reverb, and over the top horn lines that without computer editing would sound like shit. Possibly, that would all be topped off with a generic exotic string instrument if the movie takes place somewhere other than in the west. Gone are the days when a composer did their investigation on the music of a certain part of the world, and reflected it in the score, and gone are the days when the orchestration was colorful and creative.
Ultimately, I decided I'm much more effective in the concert setting and can make a much better living producing this kind of music that I am producing now, and I am doing well for myself, every year my situation is improving and I am getting more and more on commission.
Now for the musicians who are protesting:
This is a perfect reflection of how Hollywood is starting to concentrate the winnings to a few select groups within a production. Movie budgets and winnings are higher than ever and yet more and more, movie productions are sending more parts of the productions overseas in order to save every last buck they can, which i have no idea where those go, maybe to give the actors more bonuses? I'm not sure. Musicians of course are among the losers. Let me give you a perspective on what a professional musician asks for. I charge $200-300 to perform for a one hour gig (this can be on piano, organ, percussion, or flute), and I'm considered fairly entry level. A professional, in order to put in the practice that is required and then perform the piece, requires something more like $600 or so per hour, and then add to that the amount of time it would take to record an entire film score. And an orchestra would be at the smallest 35 pieces. This totals somewhere about $63,000 for an orchestra at the lower estimate. These musicians are not being greedy, this is a very modest living they would be making, especially if they live in a city that is as expensive as Los Angeles, and in the grand scheme of things, this is VERY low considering the budgets that some of these new movies command and considering the fact that the music can make or break a movie.
tl;dr:
Bottom line, working in Hollywood is not even close to the glamorous stories you're told; the work environment is horrible, the abuses of power are blatant, the creativity has plummeted in the past few years. And most importantly, the pay is not what you think it is, it's bad, and it's a big reason I left and now am living my dream doing music out in different venues, and it has been the best decision I have ever made. It is sad to see that with the budgets Hollywood commands that it is resorting to hiring musicians from out of the country to keep saving those little extra bucks and screwing over Los Angeles studio musicians. I really don't see how this situation in the article will be helped. I don't see what can possibly be done to bring the studio musician jobs back to the US, and back to Los Angeles specifically, where they SHOULD be.
Journal written originally by
Juniper_Squirrel , displayed here with Juniper's kind permission :3I can only confirm what have been said. Juniper's experience with Los Angeles is a bit different of the way things work in Europe (London, Paris, Berlin, Vienna...) but to sum it up : you're as screwed as your US friend. In Europe, the laws on copyright garantee you a percentage on the incomes a movie makes. But producers are as greedy in Europe as they are in the USA. Either they will force you to abandon your right to a percentage (If you "agree" and sign a contract, they will definitely rob you those rights). The fact is, you will work for peanuts most of the time :
- For a 26mn movie, expect no pay at all. "That will make you more visible, having your name on the credits and such project to add to your resume is already something worth working for" is basically what you will be told about 95% of the time. Directors are powerless on this situation, given their own pay for the movie (when they get paid)
- For a 52mn movie, expect maybe 4000€. Given most studios and productions are located in the capitals (London, Paris, etc...), where life is insanely expensive, expect your pay to vanish in about two month of rent*. You haven't eaten, paid for your car, insurrance, got your licenses for the softwares** and your production devices, etc...
*You could say "I don't need to be on (let's say) Paris to compose. I can do it away and sent the music to the director. Yeah. I though that too. And I am moving to Paris after the current movie I'm working on is finalized.
** I will make a journal about studios and legal issues in most european countries. Most of you (an immense majority) think they can pirate their softwares and make money out of the music they create with this. Well... Nope.
- For a 90mn+ movies, the pay is variable but can go up to 50k€. You think it's a lot? Pay the London Symphonic Orchestra, the Orchestre National de Paris, the Berliner Philharmonik... And see what's left after that
The money generated by the music is estimated by the contract you signed. This fraction of the income is to be divided by 3. The composer (you) gets 1/3, the producer, as "he made the production possible by bringing the money in the first place", gets another 1/3, the editor keeps the last 1/3. Often the producer won't bother hiring an editor that would potentially spread your music on radio, TV or anywhere else. They often get the label of editor to get this 1/3 but won't do the proper job of communication that is expected from a real editor. What does that mean? That means over 100€ you made with your music, you keep 33€, the producers keeps 66€. I haven't talked about taxes yet. PLUS, the music being not spread to TV and radio, you loose all the royalties you could have got. Again, you're screwed.
There is countless of ways to get robbed by the producers. And they know every one of them. There is no friendly, cozy work environnement when you are a film music composer. 95% of the cases, you are the lowest person involved in the creative process. Litterally the lowest. You are nobody, and you're here to bring the 35% of the movie for the least amount of money possible.
"Okay, I can deal with stress and don't need a lot of money to live"
That's forgetting how single minded the producers are. You think you will compose your own music?
Forget about it ! Begginners compose Zimmer-style. Because "that works". Very few of us can actually compose the music they would feel "perfect" on the pictures ; producers want a big, fat sound, like in "The Dark Night". Two chords of horns and some strings staccati, and you're getting hurrays from the producer. Anything a bit creative, new, is considered "risky" and gets rejected if the producer think about his money (trust me, he does!)
No money, low esteem from the producer and the director, and no creativity encouraged (or even tolerated)... The composers' work is really tough for most, sometimes even not allowing to sustain on the job. I advise people who want to work in that industry to prepare themselve before considering to turn their dream into nightmare. Like my friend Juniper said, this is NOT the oasis Hollywood documentaries and DVD/Bluray bonuses display.
TL;DR : For those who don't want to read the whole stuff, here is a one phrase summary
If you have any question on that topic, I'd be glad to answer
karunoArt (Music) Theft/Plagiarism - Or not? - Help to find out.
Posted 11 years agoHi folks!
I'm reaching out to you for a rather unconventional request.
When you take another artists drawing, apply a few photoshop filters and re-upload it without giving credit or even claiming it's yours, it's art theft and plagiarism. Music is no different - taking a song, applying a few stock effects and changing the tempo without crediting the original work is simply unfair, and deserves to be brought to the attention of the people affected, which - at some point - might even be you.
One case has been brought to my attention by a friend, and I'd like to ask for your help in giving it a closer look, or listen - as it's apparently been brought to the attention of FA administration a few times in the past year already with no action. Maybe it's unjustified; but if not, maybe we can make a difference.
What I'd like you to do, given you can spare a few moments of your time:
- Visit this gallery.
- Listen through some of the musical submissions.
- If you recognize one, simply reply to ***THIS*** journal (the one you're reading right now), and post the link of the submission and the name of the original (or even a YouTube reference). If it's plagiarism, *don't* harass the user and/or leave shouts or comments. If it's not - you may have discovered some music you like.
This is no call for war, no call for self-justice; just an inquiry for help to figure out if an accusation is legit or not - and if yes - to have some solid material to show to the FA administration. If you feel this is totally inappropriate, speak up, and if this request violates any ToS/rules of FA, I'll take full responsibility for it and ask for any consequences to be directed at me/my account, and not the composers group.
Luchs
I'm reaching out to you for a rather unconventional request.
When you take another artists drawing, apply a few photoshop filters and re-upload it without giving credit or even claiming it's yours, it's art theft and plagiarism. Music is no different - taking a song, applying a few stock effects and changing the tempo without crediting the original work is simply unfair, and deserves to be brought to the attention of the people affected, which - at some point - might even be you.
One case has been brought to my attention by a friend, and I'd like to ask for your help in giving it a closer look, or listen - as it's apparently been brought to the attention of FA administration a few times in the past year already with no action. Maybe it's unjustified; but if not, maybe we can make a difference.
What I'd like you to do, given you can spare a few moments of your time:
- Visit this gallery.
- Listen through some of the musical submissions.
- If you recognize one, simply reply to ***THIS*** journal (the one you're reading right now), and post the link of the submission and the name of the original (or even a YouTube reference). If it's plagiarism, *don't* harass the user and/or leave shouts or comments. If it's not - you may have discovered some music you like.
This is no call for war, no call for self-justice; just an inquiry for help to figure out if an accusation is legit or not - and if yes - to have some solid material to show to the FA administration. If you feel this is totally inappropriate, speak up, and if this request violates any ToS/rules of FA, I'll take full responsibility for it and ask for any consequences to be directed at me/my account, and not the composers group.
LuchsHow shall we display your creations? And other things
Posted 12 years agoGood evening/afternoon/morning everyone !
First, I'd like to apologizes for the interruption of the spotlight. It appeared very quickly that I am way too uncomfortable with recording my voice in front of you guys (and ladies). My accent, my prononciation, everything was nothing but shame for me ; also the stress made me loose all intelligibility. I delayed the last spotlight for days, which eventually became weeks, then months...
HOWEVER, I really want to do something for the community I love ; Not only furries, but furry composers !
So I wondered.... HOW should I display your creations?
Since the beggining of that group, people have put their work on the shoutbox. Which is nice, but since the watchers of this group are not notified, I doubt of the efficacity of such a procedure. I have thought about making the spotlight via written submissions, but honestly, it lacks some life (though I am pretty sure people just click on the links put in the description without actually listening the whole part where I embarass myself )
So what is your idea on the topic? How should I proceed to give your music the attention it deserve?
On a second note, I have be shown some excellent soundbanks and it made me think... A lot of composers here have talent and ideas, but lack a professional sound. Something that could help them improving their music, and devellop their creativity...
This year I've met quite a lot of important people. People who worked -for example- with Hans Zimmer or Ennio Morricone... People who taught me a couple of things in the processus of music creation ; And I'd like to share it with you.
Therefore I would like to create a regular (maybe once a month) FAQ where I would answer questions that shows up the most, with my poor yet growing knowledges. Each time I would detail my answer the best I can, in a journal or a submission.
If there is professionnal musicians, they are invited to join to provide an even larger panel of opinions and views on the topic.
Besides, for every question you'd ask me I couldn't answer, I will transfer the questions to the people I refered to earlier. I hope this project will help every one of you as well as helping me improving again and again.
I though about opening the propositions for 3 weeks via a journal, then submit the questions on a pool for a week ; after what I will answer the most frequently asked question.
It's very late, I might have let some grammar mistakes, some points might be not clear, and you could get confused somewhere. I have no self-critique look at what I wrote so if you have any question regarding this journal, I'd gladly answer them.
If you have suggestions, remarks... Same as above applies.
Thank you for still being a part of the group despite its relative inactivity. Once again, I'd like to apologize for this.
Yours
~Karu
First, I'd like to apologizes for the interruption of the spotlight. It appeared very quickly that I am way too uncomfortable with recording my voice in front of you guys (and ladies). My accent, my prononciation, everything was nothing but shame for me ; also the stress made me loose all intelligibility. I delayed the last spotlight for days, which eventually became weeks, then months...
HOWEVER, I really want to do something for the community I love ; Not only furries, but furry composers !
So I wondered.... HOW should I display your creations?
Since the beggining of that group, people have put their work on the shoutbox. Which is nice, but since the watchers of this group are not notified, I doubt of the efficacity of such a procedure. I have thought about making the spotlight via written submissions, but honestly, it lacks some life (though I am pretty sure people just click on the links put in the description without actually listening the whole part where I embarass myself )
So what is your idea on the topic? How should I proceed to give your music the attention it deserve?
On a second note, I have be shown some excellent soundbanks and it made me think... A lot of composers here have talent and ideas, but lack a professional sound. Something that could help them improving their music, and devellop their creativity...
This year I've met quite a lot of important people. People who worked -for example- with Hans Zimmer or Ennio Morricone... People who taught me a couple of things in the processus of music creation ; And I'd like to share it with you.
Therefore I would like to create a regular (maybe once a month) FAQ where I would answer questions that shows up the most, with my poor yet growing knowledges. Each time I would detail my answer the best I can, in a journal or a submission.
If there is professionnal musicians, they are invited to join to provide an even larger panel of opinions and views on the topic.
Besides, for every question you'd ask me I couldn't answer, I will transfer the questions to the people I refered to earlier. I hope this project will help every one of you as well as helping me improving again and again.
I though about opening the propositions for 3 weeks via a journal, then submit the questions on a pool for a week ; after what I will answer the most frequently asked question.
It's very late, I might have let some grammar mistakes, some points might be not clear, and you could get confused somewhere. I have no self-critique look at what I wrote so if you have any question regarding this journal, I'd gladly answer them.
If you have suggestions, remarks... Same as above applies.
Thank you for still being a part of the group despite its relative inactivity. Once again, I'd like to apologize for this.
Yours
~Karu
Looking to Hire a Composer!
Posted 12 years agoHello folks ! Sorry for the long time since the last journal !
I would like to bring your attention on somehting that might interess you. A lot.
eevachu is looking for a composer to hire, for a short animation (about one minute) to make for April.
Every information is in this journal , so if you want to do it, go ahead and propose your talent !
With Eevachu's permission, I would gladly relay the progress and why not, share the final animation on a journal here :3
The community needs more collaborative artwork !
Best regards
I would like to bring your attention on somehting that might interess you. A lot.
eevachu is looking for a composer to hire, for a short animation (about one minute) to make for April.Every information is in this journal , so if you want to do it, go ahead and propose your talent !
With Eevachu's permission, I would gladly relay the progress and why not, share the final animation on a journal here :3
The community needs more collaborative artwork !
Best regards
Eurofurence 19 : Panel @PianoBar - Tutorials coming !
Posted 12 years agoAlright, my fellow composers, I wanted to know how much of you were going to Eurofurence 19.
I have negociated with the Eurofurence Staff and we composers have a dedicated schedule for the Piano Bar to meet, exchange ideas, discuss topics and advices for composition.
Usually, I wanted to plan a tutorial on "how to tune your piano yourself" but the hotel manager was a bit non-enthusiast - I don't know why the idea of letting a complete stranger, me, explaining to furries with alcool in the blood how to tune a 20k$ piano gives a bad feeling - so it's a "no" for that.
HOWEVER, thanks to a friend of mine (this guy has to be brought by force into the furry fandom!) I'll be most likely presenting a tutorial video if you guys are interessed. (Asking
pianowolfy to bring that topic on 
pianofurs could be a good idea)
I also considered planning a "how to compose" tutorial, but I have realized that I am not a reference for electromusic and should work on this before. Two months are not enough, so I wanted to ask YOUR opinion about this.
-- > If you're coming at EF, what would you expect from a composers panel?
-- > Would a tuning-your-piano-tutorial interess you? The tutorial would be filmed and hosted on a journal here and adapted to most frequently asked questions.
Your fellow
karuno
PS: I am ashamed I delayed the spotlight so much. Really.
I have negociated with the Eurofurence Staff and we composers have a dedicated schedule for the Piano Bar to meet, exchange ideas, discuss topics and advices for composition.
Usually, I wanted to plan a tutorial on "how to tune your piano yourself" but the hotel manager was a bit non-enthusiast - I don't know why the idea of letting a complete stranger, me, explaining to furries with alcool in the blood how to tune a 20k$ piano gives a bad feeling - so it's a "no" for that.
HOWEVER, thanks to a friend of mine (this guy has to be brought by force into the furry fandom!) I'll be most likely presenting a tutorial video if you guys are interessed. (Asking
pianowolfy to bring that topic on 
pianofurs could be a good idea)I also considered planning a "how to compose" tutorial, but I have realized that I am not a reference for electromusic and should work on this before. Two months are not enough, so I wanted to ask YOUR opinion about this.
-- > If you're coming at EF, what would you expect from a composers panel?
-- > Would a tuning-your-piano-tutorial interess you? The tutorial would be filmed and hosted on a journal here and adapted to most frequently asked questions.
Your fellow
karunoPS: I am ashamed I delayed the spotlight so much. Really.
Spotlight, anyone? Also, who is going to Eurofurence?
Posted 12 years agoHi everyone !
No, I didn't forget. Told you may was going to be a crazy month ^_^"
You know the rules for the spoltight? I bet you do. But it doesn't cost much to make sure you can read them again, so let's go for the rules !
- Your music must be an ORIGINAL COMPOSITION (NO remixes, cover or whatever you don't own the full rights). I can also accept collaborations, as long as credit is given on both pages. If a collaboration is selected, I'll put both names and links.
- Submit pieces that are maximum 3 months old !
- Submission must belong to a independant piece (You may post one mouvement of a symphony, but not all movements, for it's one single piece cut for max. size upload issues. If you want your symphony to be spotlighted, submit all the movement under one name. They'll be spotlighted as one)
- You have different categories, which are the ones you already know from our lists :
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
- You can submit as much as you want, as long as your entries are differents enough.
- By submitting a composition, you agree that either luchs luchs or karuno karuno uses it for the spotlight, as a part of the musical background, or for other composers' purposes during the month. No commercial use will be done and credit will be given every time.
- Please, don't be rude ! If you are disappointed with the spotlight, keep in mind that you are probably not the only one ! I'll try to be as fair as possible, but this doesn't mean YOU are the chosen one.
- I'll select 1 track every 5 submitted, with a maximum of 3 ! This means, if I get 7 pieces for the electro category, 1 of them will be spotlighted. If I get 14 entries, 2 of them will be hosted in the spotlight ! Simple !
- Quality is far better than quantity ! I don't really care about the quality of the sound, but of the composition itself !
If you want to help us A LOT, you could put both name and genre in the comment you are going to left. Seriously, the time I've lost trying to figure where the link of the selected songs were, it's over nine thousands halves-seconds
Besides, I am still planning the special even for Eurofurence ! I'll let you guys informed as soon as the even is confirmed ! If you are going, please tell me so I can evaluate the amount of people who could be there !
May the music be with you !
No, I didn't forget. Told you may was going to be a crazy month ^_^"
You know the rules for the spoltight? I bet you do. But it doesn't cost much to make sure you can read them again, so let's go for the rules !
- Your music must be an ORIGINAL COMPOSITION (NO remixes, cover or whatever you don't own the full rights). I can also accept collaborations, as long as credit is given on both pages. If a collaboration is selected, I'll put both names and links.
- Submit pieces that are maximum 3 months old !
- Submission must belong to a independant piece (You may post one mouvement of a symphony, but not all movements, for it's one single piece cut for max. size upload issues. If you want your symphony to be spotlighted, submit all the movement under one name. They'll be spotlighted as one)
- You have different categories, which are the ones you already know from our lists :
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
- You can submit as much as you want, as long as your entries are differents enough.
- By submitting a composition, you agree that either luchs luchs or karuno karuno uses it for the spotlight, as a part of the musical background, or for other composers' purposes during the month. No commercial use will be done and credit will be given every time.
- Please, don't be rude ! If you are disappointed with the spotlight, keep in mind that you are probably not the only one ! I'll try to be as fair as possible, but this doesn't mean YOU are the chosen one.
- I'll select 1 track every 5 submitted, with a maximum of 3 ! This means, if I get 7 pieces for the electro category, 1 of them will be spotlighted. If I get 14 entries, 2 of them will be hosted in the spotlight ! Simple !
- Quality is far better than quantity ! I don't really care about the quality of the sound, but of the composition itself !
If you want to help us A LOT, you could put both name and genre in the comment you are going to left. Seriously, the time I've lost trying to figure where the link of the selected songs were, it's over nine thousands halves-seconds
Besides, I am still planning the special even for Eurofurence ! I'll let you guys informed as soon as the even is confirmed ! If you are going, please tell me so I can evaluate the amount of people who could be there !
May the music be with you !
Spotlight for May - finally open !!!
Posted 12 years agoHello everyone ! First of all, I apologize for the late opening. Even though we'll hit the 1rst of may in the next few days, I will let everyone a full week to post their entries !
Here are the rules for spotlights :
- Your music must be an ORIGINAL COMPOSITION (NO remixes, cover or whatever you don't own the full rights). I can also accept collaborations, as long as credit is given on both pages. If a collaboration is selected, I'll put both names and links.
- You have different categories, which are the ones you already know from our lists :
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
- You can submit as much as you want, as long as your entries are differents enough.
- For this spotlight , I'll accept entries posted up to 6 month back !
- By submitting a composition, you agree that either luchs or karuno uses it for the spotlight, as a part of the musical background, or for other composers' purposes during the month. No commercial use will be done and credit will be given every time.
- Please, don't be rude ! If you are disappointed with the spotlight, keep in mind that you are probably not the only one ! I'll try to be as fair as possible, but this doesn't mean YOU are the chosen one.
- I'll select 1 track every 5 submitted, with a maximum of 3 ! This means, if I get 7 pieces for the electro category, 1 of them will be spotlighted. If I get 14 entries, 2 of them will be hosted in the spotlight ! Simple !
- Quality is far better than quantity ! I don't really care about the quality of the sound, but of the composition itself !
- Submission must belong to a independant piece (You may post one mouvement of a symphony, but not all movements, for it's one single piece cut for max. size upload issues. If you want your symphony to be spotlighted, submit all the movement under one name. They'll be spotlighted as one)
Are you folks ready? Go !
karuno
Here are the rules for spotlights :
- Your music must be an ORIGINAL COMPOSITION (NO remixes, cover or whatever you don't own the full rights). I can also accept collaborations, as long as credit is given on both pages. If a collaboration is selected, I'll put both names and links.
- You have different categories, which are the ones you already know from our lists :
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
- You can submit as much as you want, as long as your entries are differents enough.
- For this spotlight , I'll accept entries posted up to 6 month back !
- By submitting a composition, you agree that either luchs or karuno uses it for the spotlight, as a part of the musical background, or for other composers' purposes during the month. No commercial use will be done and credit will be given every time.
- Please, don't be rude ! If you are disappointed with the spotlight, keep in mind that you are probably not the only one ! I'll try to be as fair as possible, but this doesn't mean YOU are the chosen one.
- I'll select 1 track every 5 submitted, with a maximum of 3 ! This means, if I get 7 pieces for the electro category, 1 of them will be spotlighted. If I get 14 entries, 2 of them will be hosted in the spotlight ! Simple !
- Quality is far better than quantity ! I don't really care about the quality of the sound, but of the composition itself !
- Submission must belong to a independant piece (You may post one mouvement of a symphony, but not all movements, for it's one single piece cut for max. size upload issues. If you want your symphony to be spotlighted, submit all the movement under one name. They'll be spotlighted as one)
Are you folks ready? Go !
karuno[COMPOSERS] - Spotlight reminder, Join us on IRC and chat!
Posted 12 years agoHello Fellow Composers!
In case you haven't submitted your song for the March 2013 spotlight yet, you still have time to leave a comment on the submission journal until April 1st. (No, this ain't no april fools joke.). We've already had a chance to listen and rate all the entries that have been posted so far (including the ones we missed last time), so the next spotlight should be "on time" early next week.
As a friendly reminder, please (also for future submissions) take into consideration that the spotlight is meant for original compositions, and we can't accept covers or remixes. However, the furrymusicians spotlight has extra categories for those works!
Also, we'd like to give IRC a chance, and host a composers chat room over at Furnet. We don't know if there'll be a lot of resonance there, but give it a try, and maybe we'll have ourselves a cozy little corner in no time for all kind of composing-related chat. Good things could come from such places... just think of a spontaneous collaboration, or some feedback on your mix or work in progress!
For the technical details (in case the link above doesn't work): You'll need an IRC client (such as Chatzilla, Trillian, Pidgin, X-Chat, mIRC, etc.), and direct it to the server "irc.furnet.org", channel "#composers".
See you there - eventually!
Wishing you all a lovely easter.
luchs & karuno
In case you haven't submitted your song for the March 2013 spotlight yet, you still have time to leave a comment on the submission journal until April 1st. (No, this ain't no april fools joke.). We've already had a chance to listen and rate all the entries that have been posted so far (including the ones we missed last time), so the next spotlight should be "on time" early next week.
As a friendly reminder, please (also for future submissions) take into consideration that the spotlight is meant for original compositions, and we can't accept covers or remixes. However, the furrymusicians spotlight has extra categories for those works!
Also, we'd like to give IRC a chance, and host a composers chat room over at Furnet. We don't know if there'll be a lot of resonance there, but give it a try, and maybe we'll have ourselves a cozy little corner in no time for all kind of composing-related chat. Good things could come from such places... just think of a spontaneous collaboration, or some feedback on your mix or work in progress!
For the technical details (in case the link above doesn't work): You'll need an IRC client (such as Chatzilla, Trillian, Pidgin, X-Chat, mIRC, etc.), and direct it to the server "irc.furnet.org", channel "#composers".
See you there - eventually!
Wishing you all a lovely easter.
luchs & karuno[COMPOSERS] - SPOTLIIIIIGHT ! And some announcement !
Posted 12 years agoOkay, first, I want you to know that 
raptros155 told me about the MUSIC SECTION in furaffinity's forums. Check it out, we try to have our community alive !
Thanks Raptros555 for the tip!
AAAAAAND here we go again, a second spotlight for our kind musicians. Sorry for missing the 15th ! I have been incredibly busy the last week ! ><
The spotlight will be following the same rules as the previous one, with minors changes :
- Submit one year old songs (I said two on the last, but maybe one will be enought :-/ )
- Submission must belong to a independant piece (You may post one mouvement of a symphony, but not all movements, for it's one single piece cut for max. size upload issues. If you want your symphony to be spotlighted, submit all the movement under one name. They'll be spotlighted as one)
Here are the rules for spotlights in general :
- Your music must be an ORIGINAL COMPOSITION (NO remixes, cover or whatever you don't own the full rights). I can also accept collaborations, as long as credit is given on both pages. If a collaboration is selected, I'll put both names and links.
- You have different categories, which are the ones you already know from our lists :
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
- You can submit as much as you want, as long as your entries are differents enough.
- For this spotlight only, I'll accept entries posted up to 1 year ago !
- By submitting a composition, you agree that either luchs or karuno uses it for the spotlight, as a part of the musical background, or for other composers' purposes during the month. No commercial use will be done and credit will be given every time.
- Please, don't be rude ! If you are disappointed with the spotlight, keep in mind that you are probably not the only one ! I'll try to be as fair as possible, but this doesn't mean YOU are the chosen one.
- I'll select 1 track every 5 submitted, with a maximum of 3 ! This means, if I get 7 pieces for the electro category, 1 of them will be spotlighted. If I get 14 entries, 2 of them will be hosted in the spotlight ! Simple !
- Quality is far better than quantity ! I don't really care about the quality of the sound, but of the composition itself !
Spotlight will be made in early april ! Now let's hear your music ! Submit it here, and may the inspiration be with you !
karuno
raptros155 told me about the MUSIC SECTION in furaffinity's forums. Check it out, we try to have our community alive !Thanks Raptros555 for the tip!
AAAAAAND here we go again, a second spotlight for our kind musicians. Sorry for missing the 15th ! I have been incredibly busy the last week ! ><
The spotlight will be following the same rules as the previous one, with minors changes :
- Submit one year old songs (I said two on the last, but maybe one will be enought :-/ )
- Submission must belong to a independant piece (You may post one mouvement of a symphony, but not all movements, for it's one single piece cut for max. size upload issues. If you want your symphony to be spotlighted, submit all the movement under one name. They'll be spotlighted as one)
Here are the rules for spotlights in general :
- Your music must be an ORIGINAL COMPOSITION (NO remixes, cover or whatever you don't own the full rights). I can also accept collaborations, as long as credit is given on both pages. If a collaboration is selected, I'll put both names and links.
- You have different categories, which are the ones you already know from our lists :
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
- You can submit as much as you want, as long as your entries are differents enough.
- For this spotlight only, I'll accept entries posted up to 1 year ago !
- By submitting a composition, you agree that either
luchs or karuno uses it for the spotlight, as a part of the musical background, or for other composers' purposes during the month. No commercial use will be done and credit will be given every time.- Please, don't be rude ! If you are disappointed with the spotlight, keep in mind that you are probably not the only one ! I'll try to be as fair as possible, but this doesn't mean YOU are the chosen one.
- I'll select 1 track every 5 submitted, with a maximum of 3 ! This means, if I get 7 pieces for the electro category, 1 of them will be spotlighted. If I get 14 entries, 2 of them will be hosted in the spotlight ! Simple !
- Quality is far better than quantity ! I don't really care about the quality of the sound, but of the composition itself !
Spotlight will be made in early april ! Now let's hear your music ! Submit it here, and may the inspiration be with you !
karuno[COMPOSERS] - First Spotlight, and some apologies.
Posted 12 years agoHello Fellow Composers!
In case you missed the submission for the first spotlight of this group, you can find it right here:
https://www.furaffinity.net/view/10051707/
First of all, let us apologize for the mistakes - we certainly didn't expect that many submissions, and despite trying to stay organized we missed a few of them, which we've already added to the list for the next spotlight, so they'll get their chance to get featured!
Second - even though we picked the entry for the Jazz and Blues section - we forgot to mention it in the audio track; but it's listed in the submission text.
We're confident we'll get better with those, and hope that the current one won't just be a wonderful showcase for anyone to see how many great musicians we have in this community, but also a chance for you to get to know about some of those (often underrated and undiscovered) talented folks.
Please don't be disappointed if your song wasn't among the ones we picked - it might be, next time! Also, you can always reach out to us via notes (to the group or individually).
For those of you who use IRC: Feel free to join us at #composers on Furnet! We're not quite sure if there's enough interest to turn this into a cozy corner for music talk, but we'll give it a try!
karuno & luchs
In case you missed the submission for the first spotlight of this group, you can find it right here:
https://www.furaffinity.net/view/10051707/
First of all, let us apologize for the mistakes - we certainly didn't expect that many submissions, and despite trying to stay organized we missed a few of them, which we've already added to the list for the next spotlight, so they'll get their chance to get featured!
Second - even though we picked the entry for the Jazz and Blues section - we forgot to mention it in the audio track; but it's listed in the submission text.
We're confident we'll get better with those, and hope that the current one won't just be a wonderful showcase for anyone to see how many great musicians we have in this community, but also a chance for you to get to know about some of those (often underrated and undiscovered) talented folks.
Please don't be disappointed if your song wasn't among the ones we picked - it might be, next time! Also, you can always reach out to us via notes (to the group or individually).
For those of you who use IRC: Feel free to join us at #composers on Furnet! We're not quite sure if there's enough interest to turn this into a cozy corner for music talk, but we'll give it a try!
karuno & luchs[COMPOSERS] - Spotlight: Call for Submissions closed
Posted 12 years agoHello fellow Composers!
After we announced the first spotlight of the composers group a bit more than two weeks ago, we've received 86 song submissions up to this very moment; which is an overwhelming number we can be proud of!
We - that is karuno and luchs have spent the past days listening through all of them, and we'll be honest: We've heard so many wonderful pieces that picking the ones which we will showcase in the upcoming spotlight is no easy task. We tried to be as fair as possible, both of us giving each submission a rating on our perception of creativity, mix & quality and a personal rating of what we believe is accurate.
The songs have been picked, and with so many submissions (and since this is the first spotlight), some popular genres will contain up to three tracks that will be presented. Now it's time for us to sit down and put the actual spotlight track together. That'll take some time, but we're confident that it'll be ready and up here for you to listen to this week-end!
Thanks to everyone who submitted their songs - it was a blast listening through them!
karuno & luchs
After we announced the first spotlight of the composers group a bit more than two weeks ago, we've received 86 song submissions up to this very moment; which is an overwhelming number we can be proud of!
We - that is karuno and luchs have spent the past days listening through all of them, and we'll be honest: We've heard so many wonderful pieces that picking the ones which we will showcase in the upcoming spotlight is no easy task. We tried to be as fair as possible, both of us giving each submission a rating on our perception of creativity, mix & quality and a personal rating of what we believe is accurate.
The songs have been picked, and with so many submissions (and since this is the first spotlight), some popular genres will contain up to three tracks that will be presented. Now it's time for us to sit down and put the actual spotlight track together. That'll take some time, but we're confident that it'll be ready and up here for you to listen to this week-end!
Thanks to everyone who submitted their songs - it was a blast listening through them!
karuno & luchs[COMPOSERS] - FIRST SPOTLIGHT
Posted 12 years agoAs promised, here is the first spotlight opening !
Here are the rules for spotlights in general :
- Your music must be an ORIGINAL COMPOSITION (NO remixes, cover or whatever you don't own the full rights). I can also accept collaborations, as long as credit is given on both pages. If a collaboration is selected, I'll put both names and links.
- You have different categories, which are the ones you already know from our lists :
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
- You can submit as much as you want, as long as your entries are differents enough.
- For this spotlight only, I'll accept entries posted up to 3 year ago !
- By submitting a composition, you agree that either luchs or karuno uses it for the spotlight, as a part of the musical background, or for other composers' purposes during the month. No commercial use will be done and credit will be given every time.
- Please, don't be rude ! If you are disappointed with the spotlight, keep in mind that you are probably not the only one ! I'll try to be as fair as possible, but this doesn't mean YOU are the chosen one.
- I'll select 1 track every 5 submitted, with a maximum of 3 ! This means, if I get 7 pieces for the electro category, 1 of them will be spotlighted. If I get 14 entries, 2 of them will be hosted in the spotlight ! Simple !
- Quality is far better than quantity ! I don't really care about the quality of the sound, but of the composition itself !
Spotlight will be made march, the 1rst ! Now let's hear your music ! Submit it here, and may the inspiration be with you !
karuno
Here are the rules for spotlights in general :
- Your music must be an ORIGINAL COMPOSITION (NO remixes, cover or whatever you don't own the full rights). I can also accept collaborations, as long as credit is given on both pages. If a collaboration is selected, I'll put both names and links.
- You have different categories, which are the ones you already know from our lists :
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
- You can submit as much as you want, as long as your entries are differents enough.
- For this spotlight only, I'll accept entries posted up to 3 year ago !
- By submitting a composition, you agree that either
luchs or karuno uses it for the spotlight, as a part of the musical background, or for other composers' purposes during the month. No commercial use will be done and credit will be given every time.- Please, don't be rude ! If you are disappointed with the spotlight, keep in mind that you are probably not the only one ! I'll try to be as fair as possible, but this doesn't mean YOU are the chosen one.
- I'll select 1 track every 5 submitted, with a maximum of 3 ! This means, if I get 7 pieces for the electro category, 1 of them will be spotlighted. If I get 14 entries, 2 of them will be hosted in the spotlight ! Simple !
- Quality is far better than quantity ! I don't really care about the quality of the sound, but of the composition itself !
Spotlight will be made march, the 1rst ! Now let's hear your music ! Submit it here, and may the inspiration be with you !
karuno[COMPOSERS] - Revival, new feature, and improvements !
Posted 12 years agoI have been thinking about composers. A lot. The group is dying for two years now, being nothing but a list, since 
fluffycroc's depature. I have been doing the same job as before (adding people to the lists, answering notes), but since no one really wrote the journals or the spotlights (idea recycled), the interest for the group, following natural laws, has decreased drastically.
To be honest, being the only admin in a group no one truly follows was not really fun. Only one to blame though is me, for I haven't done the others admins' work when they leaved.
But no, clearly no, I don't want the first composers group of FA to die, so I think it's time to rise again and react !
First of all, I asked
asianeko if she was okay if composers could start making our own spotlight.
"what? Why making a spotlight when there's already one at ?" you could wonder.
The reason is, that we would orientate this spotlight exclusively to original compositions (no cover, remix, re-arrangements...)
You already know the categories, and you're very likely to be registered in one of them if you watch us ! Here is a little reminder !
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
This spotlight, as it was originally planned back in 2009 when the group was born, is planned to be mensual and will feature 3 musicians per section.
Also, one of you - that's right, YOU - will interviewed and featured as composer of the month. This will hopefully help people with less attention to get what they deserve
In complement of this, topics will also be created so people can discuss, exchange ideas and tips. Those will be sorted by genre, of course, but also per DAWs, productions techniques, etc....
The album list is also on the way to be greatly improved, and updated regulary !
To close the list of new features, I'm considering making tutorials for compositions, music theory, and such things. Those will probably come in september, though !
Oh, and by the way, in order to help me with all of those things, I needed someone. That's why I'm very glad to announce our fellow lynx-boy as new admin of the group : luchs !
fluffycroc, 
equium and 
dolphinboy are gone, that's true, but composers will live !
First spotlight opens in 5 days, the 15th, and will be featured for march ! Until then, keep up the great work !
karuno
PS: For a lil' surprise from Luchs, go on our page and press CTRL+F5 on windows and CMD+F5 on mac. Yep, new avatar !
fluffycroc's depature. I have been doing the same job as before (adding people to the lists, answering notes), but since no one really wrote the journals or the spotlights (idea recycled), the interest for the group, following natural laws, has decreased drastically. To be honest, being the only admin in a group no one truly follows was not really fun. Only one to blame though is me, for I haven't done the others admins' work when they leaved.
But no, clearly no, I don't want the first composers group of FA to die, so I think it's time to rise again and react !
First of all, I asked
asianeko if she was okay if composers could start making our own spotlight."what? Why making a spotlight when there's already one at
?" you could wonder.The reason is, that we would orientate this spotlight exclusively to original compositions (no cover, remix, re-arrangements...)
You already know the categories, and you're very likely to be registered in one of them if you watch us ! Here is a little reminder !
Classical
Electro
Folk and Pop
Rock and Metal
Keyboards (acoustic)
Game and Movie (8-bits or acoustic)
Jazz and Blues (acoustic)
Hip-Hop / Urban / RnB
New Age
Undefined / Other
This spotlight, as it was originally planned back in 2009 when the group was born, is planned to be mensual and will feature 3 musicians per section.
Also, one of you - that's right, YOU - will interviewed and featured as composer of the month. This will hopefully help people with less attention to get what they deserve
In complement of this, topics will also be created so people can discuss, exchange ideas and tips. Those will be sorted by genre, of course, but also per DAWs, productions techniques, etc....
The album list is also on the way to be greatly improved, and updated regulary !
To close the list of new features, I'm considering making tutorials for compositions, music theory, and such things. Those will probably come in september, though !
Oh, and by the way, in order to help me with all of those things, I needed someone. That's why I'm very glad to announce our fellow lynx-boy as new admin of the group :
luchs ! fluffycroc, 
equium and 
dolphinboy are gone, that's true, but composers will live !First spotlight opens in 5 days, the 15th, and will be featured for march ! Until then, keep up the great work !
karunoPS: For a lil' surprise from Luchs, go on our page and press CTRL+F5 on windows and CMD+F5 on mac. Yep, new avatar !
Happy New Year to all, some new albums and great deals !
Posted 13 years agoI know, I know, it's a bit late but I couldn't access a -real- computer for the past few days.
I hope everyone here had a lovely christmas eve, as well as an excellent new year's eve. Make sure to lift and run the next days so you eliminate all that food ! :-P
Our composers have been productive, lately :
kazza poudly presents his new album on his bandcamp account. Follow it HERE
Nothing much to say about mine. It's HERE
I have also the glorious EastWest/Quantum Leap Complete Composers Collection (to say 8 times as fast as you can !) for sale !
The reason why it's for sale is that my company is now dead and everything that belonged to it must disappear. I could have bought it if I had the money, but studies, food, etc, makes that it's not a top priority in my budget !
You can ask details in a note to my personnal account or mail me directly.
Oh, and I almost forgot to say : thanks a lot for all the watches ; even if I'm not posting as much as before, it's nice to see you people are still interessed
Again, happy new year to all, and keep up the great work !
karuno
I hope everyone here had a lovely christmas eve, as well as an excellent new year's eve. Make sure to lift and run the next days so you eliminate all that food ! :-P
Our composers have been productive, lately :
kazza poudly presents his new album on his bandcamp account. Follow it HERENothing much to say about mine. It's HERE
I have also the glorious EastWest/Quantum Leap Complete Composers Collection (to say 8 times as fast as you can !) for sale !
The reason why it's for sale is that my company is now dead and everything that belonged to it must disappear. I could have bought it if I had the money, but studies, food, etc, makes that it's not a top priority in my budget !
You can ask details in a note to my personnal account or mail me directly.
Oh, and I almost forgot to say : thanks a lot for all the watches ; even if I'm not posting as much as before, it's nice to see you people are still interessed
Again, happy new year to all, and keep up the great work !
karuno
