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About geluf

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  • Birthday 03/07/1983

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  1. geluf

    Music by Geluf

    Thanks a lot. I'm finally back working on some new stuff, so hopefully it won't be long before I can update the thread.
  2. geluf

    converting mp3 to ogg

    Reaper. I cannot recommend Reaper enough. Before I bought Cubase it was my 100 percent go-to DAW program. It does most of the stuff the big boys do for hundreds upon hundreds of dollars, at zero cost to you (they ask that you buy a license after a few months...but you don't actually have to do it, the program doesn't stop working). Reaper can convert to every audio type imaginable. Including ogg
  3. geluf

    Music by Geluf

    Back with a new track. "Hero" is definitely cinematic in nature, but could work quite well as title screen, main theme, or even cut-scene music.
  4. geluf

    How To Get Started?

    Early steps into composition should be all about imitation. The old writing adage is "Read 1,000 words for every 1 you write" and that holds true for music...just substitute notes for words! It's been suggested that you pick a tune you really like and try and replicate it by ear. That is a fantastic exercise and will help you to begin understanding how musical lines "work". I've been composing professionally for nearly 15 years now and I still sometimes do this exercise. It always yields good results and opens doors to new possibilities.
  5. geluf

    Music by Geluf

    Something new! "Life or Death" is meant for a tactical RPG battle screen (think FF Tactics or Tactics Ogre), but could also be used as dungeon, tower or evil castle music, as well as scene music. Hope you enjoy!
  6. geluf

    Music Feedback Thread

    Love this track. You've nailed the atmosphere of a winterscape. Definitely could see this in-game in my head. The only minor quibble I'd say is around the 43 second mark. The strings just sort of stop, which makes for an awkward transition into the next segment. You might think about putting in a decrescendo there to have them sort of taper out into nothing, leaving you with a sense of falling action into the next, quieter section. Alternatively, a little reverb might help create a more "ethereal" feel and echo to help that section maintain momentum. Anyway, just a small thing. It's a great track! ***** Just got finished working on a new track for a game dev team. It's a non-commercial project, so I can share it here. I envision it as a sort of battle theme for a tactical RPG, but there are other things it could be used for.
  7. I use almost exclusively libraries from Project Sam for my orchestral work. Their "entry level" packages (Orchestral Essentials 1 & 2) are very reasonably priced and come with a ton of nice sounding samples. Alternatively, the Symphobia packages give you basically an entire orchestra at your command. Project Sam gears more towards "cinematic" style music, though, so it sort of depends on what you want, sound-wise. The nice part is that there's no iLok or anything like it, and each library allows you to have it loaded on 2 different machines.
  8. geluf

    World Map? Yay or nay?

    Both styles require very different mindsets. If you opt not to have a world map but still want to try and not be too "linear", it pays to really map out your areas and create many different ways to get from point A to point B. It's all but essential. I usually draw a rough outline of how all the area pieces will fit together and guide off that in my "no world map" games.
  9. It sounds like what you are actually wanting is a way to communicate with your composer about what you want, not actually learn the ins and outs of making music itself. In all of my commercial work (which spans games, film, television and so forth), I always sit down with the producer or director and have what is called a "spotting session". This is a lengthy meeting during which they explain to me, in detail, the precise moods they are attempting to evoke at specific moments. Everyone goes about this differently (I've worked with all kinds, from novices to seasoned pros), so you shouldn't feel like there's a true "best" way. A typical spotting session will involve a lot of back and forth: "Here I'm looking to make the audience/player feel melancholy. A real sense of something lost that you can't quite put your finger on." "So, sort of wistful?" "Exactly." "Alright. So we let the melody breathe and keep it light. Piano?" "Yeah. That sounds good. Heavy piano." etc. Your composer should be throwing out suggestions to fill the gaps. A deep understanding of orchestration isn't your job, it is the job of the composer. If you say "I need this mood", your composer should be able to almost immediately suggest various instrumental combinations that might point towards your goal. It should be very back-and-forth, and they should be sending you clips and snippets as they work to make sure the direction is correct. If you actually DO want to learn theory, I can point you towards some basic resources. I have a Masters degree in Music Composition and Theory and have been working full-time in the field for a decade now.
  10. geluf

    Music by Geluf

    Got a new one: "Savannah Sunrise" is largely cinematic, with a title screen or credits flair. Could also be main thematic material.
  11. geluf

    Music Feedback Thread

    Thanks Jonnie. Yeah, I don't typically balance the reverb and such until the very end, so that'll definitely get tweaked once I finish the piece itself. As for the instruments! I'm using an Oboe and Bassoon from ProjectSam's Lumina library, strings and horn from Orchestral Essentials, The drums and bass are the on-board Kontakt samples for now (studio drummer), but will probably change.
  12. geluf

    Music Feedback Thread

    Drums backing orchestra instruments is definitely a matter of personal tastes, and a fairly divisive issue. I will likely end up making 2 versions: one with drums and one without. That way people can simply choose which they prefer. Thank you for the feedback, Cecillia!
  13. geluf

    Music Feedback Thread

    I'm currently working on an overworld theme to add to the free resources in my thread. Check out what I have so far and tell me what you think! https://soundcloud.com/geluf/overworld-in-progress
  14. geluf

    Music by Geluf

    A new track! "The Enchanted Caves" https://soundcloud.com/geluf/the-enchanted-caves While I had caves in mind while writing it, I think it works with things like forests and other "enchanted" sorts of places. The tune starts out with some playful, but mysterious, back-and-forth between a bassoon, a wood marimba and some strings. A flute adds to the mystic quality and a full choir chimes in later to add a bit of mystery. Please take a look and let me know what you think!
  15. geluf

    music academy Music Software Tools

    The true value of Kontakt is that it is a sampler, which is a requirement if you intend to use libraries like Project Sam or Vienna Symphonic Library. It is the middle step between the sample library and the DAW for many sample sets. I will add LUMINA A sample library from Project Sam in their Symphobia series. I cannot say enough good things about this library, the newest in my collection. The expressive possibilities, the articulations...it's all first rate. This library is particularly suited for writing fantasy type game music. You've got pretty much everything you'll need for that in one library! The cost is around $1,000 (USD) depending on where you buy it. I tend to buy all my music production software from Sweetwater. While $1,000 will be a huge price obstacle for most, it is absolutely worth it if you can get it. I have been using it in all my commercial projects since I got it.
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