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Thursday, 19 January 2012
SOPA: Stupid Online Persecution Act

Before I go into this, I'd like to point out the irony. All yesterday, whilst my homepage was down in protest of SOPA, the nature of my website called for Google AdSense to display an advert for a blatant music and video piracy service. That's just Google for you.

Now, for those who are unaware, the Stop Online Piracy Act (abbreviated, SOPA) is a bill going through the United States Congress whose name makes it sound like its primary function is to end the online proliferation of piracy of music, films, videogames, and any other copyrighted material (like photos, novels, illustrations, and artwork). At face value, this is a good idea. However, if one examines the wording of the bill (which some other people who are much more well-versed in politics than I am have looked into extensively at this point), one would find that it is phrased vaguely enough to ultimately permit the censorship of American websites. The slogan which people like myself have adopted is, "Don't Censor the Web". Some people have posited that the United States' internet presence will decrease exponentially if the bill is passed. Others liken a post-SOPA America to China, Iran, or some other country who prefers to control their online image.

"Well, isn't this a bit dramatised?" Not at all. The fundamental nature of SOPA's inner workings is that someone has but to make a complaint about a website to the authorities and that website will be shut down and its webmaster will be fined. To that effect, websites such as YouTube, Facebook, Wikipedia, Flickr, Photobucket, Webshots, and possibly thousands of others would either be scared into self-policing user content or would shut down of their own volition to avoid a potential fine.

It's interesting, this. In music, we use the term "fine" (pron. "FI-ney") to denote the end of a song, because in Italian it translates to "the end". However, in one of its several English definitions, to "fine" is to charge money for an infraction of a rule or a law.
Under SOPA, the fear of fines will be fine of the Internet. Yes, I know, it's a bad joke. SOPA is also a bad joke.

But, I'm a composer, so this can't possibly affect me, right? An anomalous experience I had with Pangaea is a good example of how it CAN and WILL happen to me.
A few months ago, either a computer algorithm or a fellow composer who also composed a song called Pangaea called out my song on YouTube. I was notified by the website that the copyright status of my song was in dispute and if I could correct the problem. Under SOPA, I would not have been notified until YouTube had already deleted the video and blocked my IP address. Despite the fact that, to the best of my certain knowledge, my Pangaea is 100% original and entirely of my own composition, I would have been disallowed from posting any new material to YouTube because of what was, quite probably, a computer glitch. I would have needed to spend thousands of dollars in attorney fees just to get my privileges back. I don't have thousands of dollars. I only have a couple of hundred. Does the term, "starving artist", mean anything to the government? Doubtful. They'd just say I should get a "real job" and quit spending the taxpayers' money.
In this way, I and thousands of other small business owners would be unable to do business online. Say, for example, someone creates an Amazon.com account to sell some stuff. Say he was a clerk at a record store in the early 1980s and was allowed to take home fifty unsold copies of Devo's New Traditionalists when the store ended business. He's had them stored away in the attic, still shrinkwrapped and in playable condition for all these years and now he wants to sell them as collectibles. A snitchy type brings this to the attention of Warner Music Group who still holds the rights to the album. When the seller refuses WMG's demand for its "deserved" 75% share of the profits from the unsold records, they call him out on infringement. Under SOPA, Amazon would be required to terminate his account and block his IP address.

Another thing which is worrysome is that the bill does not clearly define "copyright infringement". In fact, by some interpretations, it allows anyone with an issue about a small thing to claim infringement of intellectual property when, in fact, no such infringement is taking place. Say I call President George W. Bush a retarded cowboy whose dyslexia made him declare war on the wrong country and had to pay for his mistake by mooching billions of dollars from American taxpayers, sending the nation into a certain death spiral. Someone else, perhaps Mr. "Mission Accomplished" himself, could take offence at that and call me out on intellectual property infringement. Under SOPA, that kind of thing would be all that is needed for my website to be taken down. No investigation would take place to see if the claim was legitimate... strike that. No investigation could take place because of SOPA's inherent unenforceability. Who's going to get paid to follow up on all of these claims? No one. It's a waste of money and Congress knows it. A conspiracy theorist would claim that Congress just wants an excuse to turn America into a police state.

Of course, as a fellow blogger put it, "You know how American politics work. There's a secret meeting in the men's room, money is exchanged, hands are shaken, and hey-presto! here's a new law to tack onto the constitution."

The point is, despite its good intentions, SOPA will only serve to curtail our most fundamental human liberty: freedom of speech. Even though my homepage is back up, the fight isn't over until the bill is voted down. Contact your local representative and remind them that SOPA isn't just unconstitutional, it's philosophically unsound.


Posted by jsebastianperry at 00:01 CST
Updated: Wednesday, 18 January 2012 19:54 CST
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Thursday, 10 November 2011
Rediscovering the violin

It's been some time since my last post, has it not? Almost a month! In fact, if I'd waited 'til tomorrow, it would have been exactly one month since my last entry! Incidentally, tomorrow is 11 November 2011. Abbreviate it and you've got 11/11/11. Ah, triple numbers! This is the second-to-last time we'll have triple numbers in the 21st century, you know! But, this isn't a math blog. Onward to other things!

Right. So, a few months ago, much to my dismay, I discovered I had all but forgotten how to play the violin. I'd been spending so much time on the piano keyboard, I had neglected my formal training and, as a result, sounded like a first-year violin student when I got back to it.
But, as I seem to have an unusual quantity of free time, considering where I am right now, I've decided to get back to the violin. Especially as I didn't have access to a piano or synthesiser for the first couple of months, I rather needed something to play.

At this point, I think I've returned to the experience level I had when I quit the instrument in 2007. In fact, I may have surpassed it slightly -- back then, I couldn't do fourth-position (moving your first finger up to the fourth note position on a string - this is usually done on the highest string to reach notes above the normal playing range), but now I use it routinely. Mostly just as a substitute for playing an open string (playing the fourth note position on any string produces the same tone as the open string above it).
I've learnt the value of playing the fourth position, inasmuch as it allows you to play vibrato, which you can't do on an open string; and that playing an open string will quickly betray the fact that your violin may not be precisely in tune, especially when playing with accompaniment whose instruments are in tune (like a computer or synthesiser).

Anyway, enough violin technique lecture. The real reason I'm writing this is because I've learnt a few new songs. Familiar songs that the other students here would recognise. The one I'm most keen on at the moment is Green Day's Good Riddance (subtitle, "Time of Your Life"). It was composed when Super Mario 64 was new (1996), but it still gets a decent amount of use, on the radio and in corporate playlists for department stores mostly. You'll hear it as underscore to a television programme every now and then, too.
Good Riddance, for me anyway, is a jolly nice "cheat" song. That is, it's written in an easy violin key, so it makes me sound better than I actually am.

Even though YouTube is replete with footage of people covering this and other songs on their violins and guitars and things, I might practise a bit more and add my own contribution to the pile.
All of these new songs I'm learning is opening up new avenues for new age covers. I've got a decent handle on Devo's Whip It on the keyboard, as well as Diane Warren's Faith of the Heart (the Enterprise cover, that is) and a couple of other ones. If nothing else, school has taught me new music that I can use in a cover album.


Posted by jsebastianperry at 14:37 CST
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Tuesday, 11 October 2011
Techno and New Age: You wouldn't think they'd work together...

Updated Wednesday, 12 October 2011 

I've deleted the entry from yesterday, Tuesday, October 11th, as I've changed my mind about something I said there.

I said, principally, that I had finished a new song and would debut it here when it had been completely finished. However, in retrospect, I've decided not to release this song to the public for personal reasons.

Thank you for understanding.


Posted by jsebastianperry at 00:01 CDT
Updated: Wednesday, 12 October 2011 18:14 CDT
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Thursday, 6 October 2011
Sim Mod Con available on YouTube

Until I can get 'round to doing my next album, I thought it would be a jolly nice idea if I put my last one up on YouTube. Frankly, I had been considering doing that for a while, but I kept being thwarted by the idea that I needed an original music video for each of the 20 tracks, just like all my other singles (City Sunset, Mario 64 ragtime, those things). I decided to take a leaf from the music pirates' book and just use the front cover-art of the album, with the track number and title superimposed over it, as the only visual. Surprisingly, it worked rather well, I think.

Have a look, why don't you?


Posted by jsebastianperry at 15:11 CDT
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Saturday, 1 October 2011
Another Tetris "Music A" arrangement

It's quite catchy, that Russian folk tune, isn't it? So much, in fact, that I'm presently working on another arrangement of it, only this time in the style of a Soviet state orchestra. I mean, it had to happen sometime, right? It is a Russian song, after all.
At the moment, it's mostly strings: violins and cellos. However, there are also tubular bells and a male chorus. Though, I had forgotten just how pathetic the General MIDI chorus sound is, so I'll probably assign a different instrument to that track on release, then reassign the chorus on the Fantom X.

Of course, I am tens of miles away from my synthesiser at the moment, which is rather unfortunate. Still... all these arrangements I'm doing -- Tetris, Mario, Crash Dummies -- I could easily do a game music cover for my next album. Of course, that would mean that my other idea, the piano music for children, would need to get pushed back to album #6.

Anyway, I'll post the MIDI for the newest Korobeiniki arrangement when it's finished.
After that, I may sequence my ragtime cover of the Mario 64 theme and arrange it for orchestra (somewhat un-Joplinian, but I seem to have a plethora of free time lately, so why not, eh?).


Posted by jsebastianperry at 21:45 CDT
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Thursday, 15 September 2011
Samaya izvestnaya russkaya pesnya kogda-libo.
Now Playing: Flute Concerto in C Minor
Topic: Game Music

"Please to be waiting momentarily, comrade," you say, looking at the title rather strangely. That is, of course, Russian for "the most famous Russian song ever."

I refer to the one song that's ever come from the former socialist powerhouse that nearly everyone in the world has heard: a folk-tune called Korobeiniki, best known for its role as "Music A" from Tetris. Rather than compose entirely new music, the game's Soviet creator decided (not unexpectedly) to use an existing folk-song as his tetrominoes-based puzzle game's background score.
Until very recently, I was only vaguely aware of the tune, but from Super Smash Bros. Brawl, where it serves as an alternate song for the "Luigi's Mansion" stage. Sure I had played Tetris, but only on my mobile and only on silent mode (my old mobile phone's sound chip was total rubbish).
Fast-forward to a couple of weeks ago, where my suite-mate (the bloke who lived in the dorm room on the other side of the vestibule) requested I find it for him on VGMusic.com, calling it his favourite piece of game music ever. Oddly enough, I discovered that Tetris has been released on nearly every console ever made, but was most popular on Game Boy - VGMusic.com's section for which, I might add, was where I found the song he requested. It stuck in my head then and has not left since.

So, yesterday, I found myself out of homework to do and bored out of my very wits. So, I opened NoteWorthy Composer and started to rearrange the song. After just shy of an hour, I ended up with this.

Flute Concerto in C Minor (Tetris Music A)
At first, I considered writing it in the style of a Russian balalaika ensemble... however, that was before I discovered (through Wikipedia) that the song was a Russian folk-tune. I figured the balalaika had probably been done.
Frankly, there's not much that one can do with the song. When I was at home for Labour Day weekend, I found that, unlike the uber-versatile "Above Ground" from Super Mario Bros., "Music A" can really only be turned into A. a Soviet state march, B. a polka, or C. arcade music and still sound halfway-decent. Sure, it's in common time and can be superimposed over most of the Fantom X's default rhythm sets, it just doesn't sound right.
In comparison, I've done "Above Ground" as a waltz, a polka, hard rock, death metal, techno, reggae, swing, jazz, bluegrass, new age with strings, new age with piano, and ragtime.
However, I found that, with the slightly percussive harp behind the flute, one can turn "Music A" into a respectable (if short) Beethoven-esque concerto.
If the song sounds familiar... like something I've already written, consider listening to this, then Murder Mystery. The violin section taking over the melody from the flute is very much a tactic I used there, too.

So, there's that. It's not an original song, necessarily, but it's installment #2 of my "college period" pieces.


Posted by jsebastianperry at 16:16 CDT
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Monday, 29 August 2011
Vocaloid?

Ah, speech synthesis... it can give voices to those with throat cancer, read webpages for the visually-impaired, and put established singers out of work. Wait... what?

Enter Vocaloid, a set of lyric synthesisers by Yamaha Corporation. Using the same general principle behind normal speech synthesis, Vocaloid can passibly duplicate any lyrics in any key range, using an impossibly large set of phonemes and syllables. In fact, as its primary usage is in the genre of techno, where every instrument is synthesised, it can become difficult to tell which singers are acoustic and which are Vocaloid. At some points, you can easily be fooled into thinking that a Vocaloid is simply a human using AutoTune.
However, trained ears can distinctly tell acoustics from synthesisers... Vocaloid cannot produce any vocal effects, such as hoarseness, whispering, and shouting during playback. It also cannot "speak" (that is, to deliver speech without music). Nevertheless, the programme remains very popular with techno composers in Japan and Europe (and the United States to a certain extent). YouTube is replete with anime Vocaloid techno and the programme's "mascot", Hatsune Miku, is just as recognisable in Japan as the Mario Brothers.

However, what does this prolific synthesiser say about the people who use it? Where is the talent in composing lyrics that you want a synthesiser to sing? Of course, consider that, in techno (a genre about which I, admittedly, know very little) the objective is to write music that is fully synthesised. Before the popularity of Vocaloid, one way this was done was simply to digitally change the pitch of a human voice or to use a VOCODER. However, the latter provided very little variety beyond the standard "singing robot" and, with the former, it is possible to pitch-shift too much, causing entire syllables to be lost in translation, curtailing the composer's freedom in writing high or low notes. Vocaloid, being based on human speech, provides the composer complete freedom to write whatever he desires -- it will be sung properly (though a certain degree of shifting is occasionally required). Also, it isn't a VOCODER, meaning the composer can abandon the "singing robot" archetype.

Beyond techno, however, I don't see what future Vocaloid can possibly have. Its lack of vocal effects or even dynamics (volume-changing ability) makes it unsuitable for opera or musicals... its Japanese-language basis makes it unsuitable for most varieties of hip-hop... its melodic sound makes it unsuitable for rock. The only hope Vocaloid has is if '90s pop is ever revived, with its somewhat haphazard melange of '80s synthpop, rock, and R&B. The Spice Girls and Britney Spears would have been prime targets for replacement, had Vocaloid been around then.

Still, it's good I'm a composer, not a singer. This programme's existence foreshadows the obsolescence of the live performer.


Posted by jsebastianperry at 12:02 CDT
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Saturday, 27 August 2011
Change is inevitable
Now Playing: I Choose You!
Topic: Original Music

I'll say one thing for college so far... it does tend to change one's perception of music. At any given time, skater rock, R&B, techno, and new age can all be heard playing in the corridors of the dormitory. Radios, stereos, computers, and mobile phones are the typical devices upon which said music is played... however, I have also discovered a new medium for which music is composed: Flash games.

For those who don't know (or don't care, like I did), there are numerous gaming websites that specialise in providing free or almost-free games made by people using the animation programme, Flash. In most cases, the creator of the game does not write the music for it, as well. That can be said of the professional game studios, too -- Shigeru Miyamoto and Takashi Tezuka didn't write the music for Super Mario Bros. in between level designs... Nintendo assigned Koji Kondo to write the music and do nothing else on the project.
Often, the music for Flash games is not on the same bombastic level as the soundtrack for, say, The Legend of Zelda: Ocarina of Time or Super Mario Galaxy. In fact, most Flash games don't use more than a thirty-second loop of a song, original or otherwise, for the duration of gameplay. For example, I recently became aware of a game on Facebook called, sugar, sugar, wherein the object is to direct granules of sugar into a coffee cup. That's the whole game. Oh, there are numerous different ways to do it, ways involving inverting gravity and directing sugar through colour-filters, but the game itself is based completely on that premise. Music-wise, it's a lyricless R&B loop lasting, perhaps, forty-five seconds.

Simple, yes? I thought so. However, as my next song is not entirely completed, I decided that I would put up one that I wrote quite a while back but couldn't find anything to do with it. It is this.

I Choose You! (TSN version)
As the title implies, the song is based very much on the work of Junichi Masuda, particularly from the Pokémon series. It isn't suitable for an album because it loops (one of two songs I wrote that do that -- the other being The Junkyard).

Another thing I discovered is that there is an uncannily high demand for techno songs involving the Vocaloid lyric synthesiser, which I shall talk about next time. Until then...


Posted by jsebastianperry at 10:17 CDT
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Tuesday, 23 August 2011
Eight Two Three
Now Playing: One Two Three
Topic: Original Music

In an unfortunate lack of foresight on my part, I made all of these grand plans for album #5... right before I moved far, far away from my Fantom X. If you've been following the Thirty-Second Note since the beginning, you'll remember my mentioning that I might be going to college to learn music theory ('cos what's a composer without credentials, right?). Well, that "might" turned into a "shall", so here I am, writing this entry from my dorm room at college. At the moment, I'm about 75 miles away from my Fantom X, making any work on the "Child's Play" idea impossible.

Fortunately, I do still have NoteWorthy Composer. So, to that end, I've decided to write music in my spare time (music historians may refer to this as my "College Period").
Here is the first one I've finished.

One Two Three
This, like City Sunset, Dai Sakusen, and Freshmen 4 Ever is an example of me being a lazy composer. The entire piece is based on loops -- that is, short sections of two or four bars copied and pasted together ad nauseam. Each part is like that. Also, each part introduces itself four bars after the previous introduction (the vibraphone comes in four bars after the piano, the harp comes in four bars after the vibraphone, et cetera).

With any luck at all, there will be more TSN-exclusive songs in the near future. All I have to do is write them.


Posted by jsebastianperry at 17:56 CDT
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Friday, 12 August 2011
"Child's Play": Not just a bad '80s horror film anymore!
Topic: Original Music

I know I said that, since album #4 was all about The Sims, album #5 might be all about SimCity, but I've decided to table that idea for the moment. Here's a new idea for album numéro cinq...

Piano renditions of...
  -the Super Mario Bros aboveground theme
  -the Super Mario 64 main theme
  -Linus & Lucy (a new-age arrangement)
  -Oh, Good Grief! (another new-age arrangement)
  -the Winnie-the-Pooh theme
  -The Sims main theme
  -Go, Speed Racer, Go!
  -the Inspector Gadget theme
  -the end-credits theme to Wallace & Gromit
  -some kind of song from the Walt Disney Company
  -and a few original JSP improvs

...in an album specifically geared toward children. I think it could work, this idea.

To be totally honest, I've already begun planning this album under the tentative title of "Child's Play" (uber-tentative, let's say, as there's also a slasher film from the '80s by that title). At first glance, a typical artistic reaction would be, "man, that's some expensive licensing!" And, you'd be right about that. However, there do exist certain precedents for declaring them all under Fair Use. For example, there's an album released by a non-Disney company called Heigh-Ho Mozart and another called Bibbidi-Bobbidi Bach, both of which contain numerous arrangements of Disney songs in the style of as many classical and Baroque composers. I'm doing essentially the same thing -- making piano arrangements of all those songs.

Anyway, in the time it's taken me to type this, I've decided on "I Won't Say (I'm In Love)" by Alan Menken from Disney's Hercules (sometimes known as "Meg's Song" for the character who sings it) as the obligatory children's CD Disney song. After all, action themes like the title songs to Inspector Gadget and Speed Racer and the Nintendo themes rather skew the target demographic to boys between the ages of 5-13. So, in order to maintain gender equality, the album will split more or less in this fashion...

Boys:
Aboveground from Super Mario Bros.
Go, Speed Racer, Go!
Theme to Inspector Gadget
At least one JSP improv

Girls:
The Neighbourhood from The Sims
Birabuto & Muda Kingdom from Super Mario Land
Meg's Song from Hercules
At least one JSP improv

Neutral:
Linus & Lucy
Oh, Good Grief! from A Boy Named Charlie Brown
Theme to Winnie-the-Pooh
Kakariko Village from Ocarina of Time
Clock Town from Majora's Mask
End Credits from Wallace & Gromit
Super Mario Bros. Aboveground Theme Waltz Arrangement
Super Mario 64 Main Theme Ragtime Arrangement

So, all of that amounts to approximately 45-65 minutes of music, depending on how much I rush or drag. You'll also notice that the Super Mario 64 Main Theme Ragtime Arrangement from the YouTube video of the same title is going into the album. However, I'm not totally satisfied with the way I performed the YouTube version -- I've learnt to do it better since the last recording -- so, I'll record a new, more-suitable-for-a-curriculum-vitae version, which I may use to replace the current audio track on the video.

You'll also notice that there isn't a single instance of Twinkle, Twinkle, Little Star, Mary Had A Little Lamb, Frere Jacques, or any other tiresome cliche of a nursery rhyme in the track list. Who, adult or child, wants to waste their time listening to another pianist playing one of those? What pianist worth their salt would want to add another rendition of such onto the pile, anyway?

Well, that turned out strangely, didn't it?
Anyway, that's the plan for album #5. I'll probably do SimCity for album #6.


Posted by jsebastianperry at 15:59 CDT
Updated: Friday, 12 August 2011 17:23 CDT
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Thursday, 4 August 2011
The Super Mario 64 Main Theme Ragtime Arrangement: a text commentary
Now Playing: Might want to have the YouTube video handy
Topic: Game Music

I haven't written anything recently, so I thought I would talk about one of the more popular videos on my YouTube channel. As of this posting, Super Mario 64 Main Theme - Ragtime Arrangement has been viewed 75 times, putting it in second place as far as total views are concerned.

In fact, if one might change the subject slightly, the video that has the most views of any other on my channel is Teen Girl Squad (Rhythm Core Alpha), with, like, 147 views. I've seen videos of people competently using the DSiWare app, Rhythm Core Alpha, to make techno loops and stuff that actually sounds good. I didn't set out to duplicate TBC's Teen Girl Squad background theme -- I just happened to come across the right notes, so I stuck them into RCA, attached my DSi to my computer, and recorded the playback. The only reason it's on YouTube is actually because I happen to have the AhnbergHand typeface (which Strong Bad's handwriting font) and that I wanted an excuse to kill one of the characters myself (Cheerleader is the easiest to draw in Paint). So, that's the story behind my most viewed video.

Back on task.
So, the first ten seconds of the video (which may be too long, actually) features an old-timey title card. The font used is ITC Benguiat, because it looked better than any of the other serifed fonts I tried. All that is important is in the large type. "The 'Super Mario 64 Main Theme', From Composer KOJI KONDO, As Performed By J SEBASTIAN PERRY". The rest of the text is an Easter Egg. According to the card, the film was directed by one Chas. A. M. Oldtimer III. "Chas. A. M." is a reference to Charles Martinet, the voice of Mario (which is ironic, as Mario would not have needed a voice in the Silent era, of course). "Oldtimer" is just what it sounds like -- the video is meant to seem old-timey.
Also, the "photographer" is one H.B. Slatipac. This is actually an inside joke. During rehearsal of a school play in my sophomore year of high school, I improvised a name for myself backstage: "H. Balthasar Slatipac". The "H" I decided later stood for "Hirohito".
The "Westmore-Berman Radio Company" is a reference to Michael Westmore and Rick Berman, the makeup designer and executive producer, respectively, on Star Trek: The Next Generation through Star Trek: Enterprise. Back in the old days, radio broadcasting companies would produce films because they had the most money, I suppose. "Radcliffe-McSpleen Motion Pictures, Inc." is a reference to another improvised name. Whenever we had to do a video project or PowerPoint presentation in school, I would always credit "Nigel Radcliffe" with directing or producing the feature. "McSpleen" is just my alter-ego, Spiny McSpleen. I seemed to remember reading somewhere that Philadelphia was the old Hollywood. I might be wrong. I probably am. But, there it is.
The copyright date of "19X6" (pronounced "nineteen exty six") is a reference to Stinkoman 20X6 from HomestarRunner.com. I decided I preferred it to "1936", which would also have referenced HomestarRunner.com, but the Old-Timey "The Homestar Runner" toons.
All Things Considered is the title of a programme on NPR that I rather like to listen to.
"Please wait as the splines are reticulated" is a reference to SimCity and The Sims, where the nonsense message "Reticulating Splines" would appear whilst the game was loading. This message is totally out of place on an old-timey title card, wouldn't you say?

Since the entire arrangement is based on the style of Scott Joplin, the ragtime pianist, I thought it would be appropriate to replace Koji Kondo's introductory sting with the first few bars of The Entertainer. This worked especially well, since I couldn't figure out a way to make Kondo-san's intro sufficiently ragtimey.
I was having a bit of difficulty playing the intro. The original idea was to play it on two octaves, but I couldn't do it without hitting bad notes or too many notes at once, so I took the lazy man's route and played only one octave. Since I wasn't too convinced that I could play The Entertainer and then the Mario 64 theme directly thereafter, I left out the intro and just played the Mario 64 bit. Actually, I played the intro last and just grafted it onto the front of the waveform.

If you're actually watching the video and not just listening to it, you might notice that there's very little change in the heads-up display at the top of the screen. Four Marios, 20 stars. That's because I took most of the pictures all at once and didn't care to keep ducking in and out of save files to do it. So, that's why that is.

I know that I'm not supposed to point out mistakes (that was lesson #1 in my orchestra class at middle-school: "when you perform solo, don't point out your mistakes"), but I will admit -- there are places I could have performed the song better. Specifically at 0:56, as I'm wrapping up a repeat of the motif. Still, it just goes to prove that a real person, not a computer, is playing the song live.

At 1:27, you may notice that Mario is shaded more darkly. The same is true of the image at 1:37. This is because, the picture is not actually of Mario, but of Luigi (you may have noticed the "L" on his cap at 1:37). Well, more specifically, these are two shots of a costume recolour GameShark code I made. I figured that, since they're all in greyscale, there was no reason to omit them.
Also at 1:37, there's a very un-Joplinian glissando (that's what that cacophony of downward-facing notes is: a glissando). I had to take the liberty of applying a purely Kondo-esque technique to Joplin's style. Another glissando (but upward this time) can be heard at 1:47, as well.

And, that's all that's particularly interesting about my second-most-viewed video.
That's all for today. Tune in next time when I talk about... er... well... something else.


Posted by jsebastianperry at 01:36 CDT
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Tuesday, 31 May 2011
And, so begins album #5
Now Playing: Terrania
Topic: Original Music

You know, I've really got to find a place to sell all of this music. I've got three decent albums with about 45 minutes of music on each and not a single way to make any money from it. Amazon? iTunes? Indie record shop? Well, it's not relevant at the moment.

As we speak, I'm making preparations for album #5. Its title? Who knows at this point. However, since album #4 was all The Sims, perhaps album #5 could be all SimCity?
After all, the first song I've written for this new album (whose score I just finished yesterday) was rather inspired by SimCity Societies. Its tentative title is "Terrania", but that could change once I'm totally done with it.
See, "Terrania" is similar to Freshmen 4 Ever, in that I will perform the melody line myself. However, where Freshmen had a scored melody line (which I thought was interesting at the time, but ultimately decided not to use), "Terrania" does not. Now, although I say "Terrania's" melody will be entirely improvisational, it may turn out that I end up writing a melody anyway. That happens sometimes. Since stuff doesn't always take on the first go, and I may end up improvising something really nifty, I may write it down so I can play it the same way again.

If I do decide to go the all-SimCity route, I'll put in Pangaea again, as well as City Sunset and The Paved Frontier, as those were all inspired by SimCity 3000 and 4.
So, even now, with only one new song and three old ones, it's already amounted to nearly 20 minutes'-worth of music! Fancy that, eh? But, then, Pangaea is rather on the long side, so if I do the SimCity thing, I'll probably end up pruning it some.

So, perchance to listen, yes?
Terrania (TSN version)
This version of the MIDI score has been edited for time and repetition. I took out two loops of the synth/vibraphone bit at the beginning and some in the middle as well. With the soprano saxophone that I plan to improvise with, it makes that section less repetitive than the score actually is, but just listening to the score without the melody, one has difficulty staying awake.


Posted by jsebastianperry at 22:29 CDT
Updated: Wednesday, 22 June 2011 17:39 CDT
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Sunday, 29 May 2011
Album #4 is finished!
Now Playing: Sim Mod Con
Topic: Original Music

Cor blimey, look at that! A fourth album by this obscure English composer! Who'd've thought it? I was utterly surprised when I found I had enough material for one album, never mind four!
Of course, this newest album just sort of appeared one day -- no planning had gone into it, no test cover-art made to see how a particular title would look on a store shelf. It, literally, just happened.

See, one day, I decided I was tired of The Sims 2's sprightly synthesised soundtrack (oo, hey, an alliteration!), questioning why Team Mutato chose a fully-scored route over Jerry Martin's somewhat cheatist path which was taken for Build Mode. Like I mentioned in a previous entry, The Sims Classic's Build Mode score was nifty! I liked how Jerry, Kirk, and Robi could just sit down at a piano and play whatever, then put that whatever into the game as finished music.
I was rather surprised that nothing similar was done for The Sims 2. After all, I've seen Mark Mothersbaugh improvise on his organ-synthesiser with the skill of a seasoned stage-performer (probably from all those openers Devo did for better-known musicians). Nevertheless, to each his own, I suppose. I was still tired of the same old music.
So I decided to try something. I connected up my computer to my Fantom X6 like I do and I used my "Improv Piano" voice (really just Roland's "Ultimate Grand" with some different reverb settings), thought of a house I'd built in The Sims Classic once, and improvised a theme for it. After I was done, I put the finished product into The Sims 2 for testing -- I figured if I didn't notice it right away whilst I was building brick retaining walls around Demosthenes Trevelyan's flowerbeds, I could consider the test successful.

That was in 2009. Since then, I've done Sims-related improvs on a fairly regular basis, finally ending up with a grand total of 20 pieces of piano music (more, I might add, than there was in The Sims Classic's Build Mode by, like, 14 MP3 files), or just shy of an hour in total.

So, hence the title, "Sim Mod Con". In keeping with tradition, Sim Mod Con is also the title of a song on the album. "Mod-con" is short, of course, for "modern convenience". "Sim" just seemed to fit, being a three-letter word and all, making for a simple trisyllabic title.

I'd do more writing, but my computer seems to be overheating at the moment, so I'll leave you with a sample from the album. The title track, in fact.
Sim Mod Con (TSN version)


Posted by jsebastianperry at 17:46 CDT
Updated: Saturday, 30 July 2011 11:19 CDT
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Friday, 27 May 2011
What's in a name? Well, a "J", for one thing...
Topic: Music Composers

This is just my current run of luck, isn't it? As it turns out, there's another new age musician (perhaps a composer, also) by the name of "Sebastian Perry". I don't know precisely how long he's been doing music for a record label, but suffice it to say, an explanation is required.

First, as I said in a previous post, to blatantly copy someone else is equivalent to cheating. I don't do that. My name, J Sebastian Perry, is an abbreviation of my full name, Jeffrey Allan Sebastian Perry. The "J", of course, stands for "Jeffrey" (or "Jeff"... I'll answer to either).
This is in contrast to Sebastian Perry, whose full name seems to be represented in his sobriquet.

So, to that effect, whilst I won't be totally changing my own stage-name (you can still make out all of your cheques to "J Sebastian Perry"), I may also go by the following names in the ending credits to something...

J Sebastian (just dropping the "Perry" altogether)
J.S. Perry (referencing "J.S. Bach")
Jeffrey A Perry (just dropping the "Sebastian" altogether)
Yoshin Okesu (my videogame composer name -- "Okesu" is a shortening of okesutora, "orchestra"; "Yoshin" is "Yoshi" and shinsu, "synth")

So, again, J Sebastian Perry and Sebastian Perry are two different people.

I mean, there's Mark Wahlberg, the cinema actor, and there's Mark A. Walberg, the television host. Jerry Seinfeld and Jake Steinfeld. Leonard Nimoy and... er... Harrison Ford?


Posted by jsebastianperry at 10:20 CDT
Updated: Saturday, 30 July 2011 11:20 CDT
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Monday, 2 May 2011
Re: Pangaea -- Copyrighted material?
Topic: Original Music

I recently discovered that someone (or, more likely, some computer algorithm) on YouTube has made a claim that some sort of content in Pangaea is under an existing copyright. Of all the things on my channel to dispute, it wants to dispute my original song, Pangaea? Not the Rhythm Core Alpha version of the Teen Girl Squad theme? Not the Super Mario 64 Main Theme ragtime arrangement?

Admittedly, I may be making a mountain from an anthill. I'm relatively new to YouTube and it is entirely possible that mistakes of this kind are made all the time. If it was a computer algorithm equipped with machine learning AI, there's a rather good chance that somewhere in the high 80 per cents of videos are misidentified for some reason.
Then, there's the fact that Pangaea on YouTube is comprised of three fundamental parts: the visuals, the audio, and the title. If it was a real, actual person who made the claim, it could be because they are also a new-age composer with a song called Pangaea. Or, they could have a song called, I don't know... Ffarflugnahrben, or something, that they performed with the Fantom X's "Xtragalactic" voice.

Let's face it... there are only so many combinations of notes that one can squeeze out of the 12-note scale. Furthermore, there are only so many synthesisers and so many contrived instrument voices in the world. Even though we, as composers, like to think that we're composing entirely original music... really, there's no such thing. In all the years people have been writing in the five-line staff, a good 90% of all conventional note combinations have been used. Then, with so many schools of thought regarding new age music, the Experimental genre is using up all of the unconventional notations, as well.
And, of course, new age songs of this type are frequently given expansive, ethereal, or extraterrestrial names. "Pangaea" is one such word which is, has been, and will be used in that regard.

Regardless of the previous paragraph, I do believe that, to the best of my certain knowledge, the audio track in Pangaea -- all songs called that, written by all composers ever -- is a completely new, 100% original contrivance of my/our own brain(s). I did not set out, with malice aforethought, to infringe upon the copyrights of a fellow composer, as to do so would be considered less of art, more of cheating.

Of course, some AI somewhere may find it objectionable that I used Microsoft Word gradient effects for the visuals. I did cheat there.

Maybe I was just looking for something new to write about. Who knows?


Posted by jsebastianperry at 13:16 CDT
Updated: Saturday, 30 July 2011 11:28 CDT
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Friday, 22 April 2011
Now that I've finished the Pangaea video...
Now Playing: Nothing this time
Topic: Original Music

It took me several months, but I finally did find a way to visually represent Pangaea on YouTube. One rather has to have at least an animated GIF or something -- after all, YouTube is primarily a video site.
So, anyway, now that it's all done, all the visuals are synched to the chord changes and the finished product is on YouTube, I'm considering that it may be, perhaps, just a bit too long. Without visuals, the song takes 8:40-something to play to completion. Whilst this kind of thing is good for relaxation CDs, where you're intentionally trying to get an effect out of it, I don't really think it works on the Internet. Not in a video, anyway. One goes to YouTube to be entertained quickly... it's this dratted McSociety of ours. Get your jollies in 60 seconds or less or it's on us.
Nevertheless, Pangaea may need trimming down for an online audience. Four minutes would be the second-longest video I've ever released... but nine?! That's not ideal.

It's early enough, I could remove the existing video, cut out some of it, and put it back up without anyone noticing. On the other hand, it seems somewhat unfair not to allow people to hear the whole song all at once. I suppose I could wait and see what people have to say about it. If the consensus amongst the viewers is that it's just too long and clunky for YouTube, I'll make a new rendition.

The thing about Pangaea, the song, is that it's versatile in this way. Since not much happens in it, I can cut bits out or even slice off the entire back half without anyone really conciously realising it.
The way I wrote it, one plays through the song from bar one to bar 19 in the major key, then goes back to the beginning and plays the whole thing again in minor. I could easily remove the da capo al fine and have the score end at bar 19, playing either major or minor the whole way through.
Nothing else could change. Note lengths, note values, and instrumentation would remain the same. All you have to do is change three ingredients and you have a whole different recipe. I don't want to set out with the objective of cutting Pangaea down and end up with a different song. It would still be the same relaxation piece... just a bit shorter.

Anyway, that's what I have to say on the matter.


Posted by jsebastianperry at 00:52 CDT
Updated: Saturday, 30 July 2011 11:28 CDT
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Thursday, 21 April 2011
Visual issues solved: "Pangaea" video is a go
Now Playing: Nothing this time
Topic: Original Music

In my inaugural entry to The Thirty-Second Note, I was complaining about how I had no way to visually represent my blatantly new-age relaxation piece, Pangaea, on YouTube. However, I believe I have hit upon the solution.
As I'm re-acquainting myself with Windows Movie Maker (the last time I used it extensively was in sophomore year of high school... nigh on seven years ago), I'm discovering that there are a great deal of visual transition effects which, when used properly, can be used as a substitute for actual skill. To that end, I've decided to go ahead with one of my rejected ideas: Microsoft Word gradient effects. The gradients in Word 2010 are much more micromanage-y than in previous versions, allowing one to add so-called "gradient stops" -- that is, user-defined additions of new colour to the gradient.
Using these effects, I've made 21 representations of what Pangaea might look like, if music could be seen. They're loosely based on periods in Earth's development, since the song is about the formation of the World as we know it. It starts with fire, transitions through charred cinders, dirt, water, and grass, and ends with Pangaea, itself: a combination of all of the above. The final cels look somewhat like a blurry landscape: water on the bottom, grass in the centre, the sky on top.
The cels change in synchronisation with the chords. Each time a new chord is heard, a different cel displays... well, almost each time. I rather ran out of visuals, so I had to stretch a few out a couple of chords. Speaking as an amateur filmmaker, I tried to create a sort of artificial synesthesia with the visuals, tying them in with the music. However, speaking as a professional composer, I would encourage you to not focus on the visual aspect of the video so much. The colourful stuff is just a formality -- a transmitter, if you like, for Pangaea, the song. It lasts nearly nine minutes, so just defocus and let your mind wander -- that's what one does with meditative songs like this anyway, right?

Now that I've got Pangaea squared away, I should rather like to come up with something else along the same lines. Synthesiser, new age chords (maybe fifths... fifths are good), meditative, long-ish. Something like that. Fortunately, one of the many positive aspects of the Roland Fantom X series is that it contains quite a lengthy list of synthpads... I'm sure I can find something.

In any case, Pangaea is on YouTube right now. It's the huge, great video in the centre of my channel page.
Why not have a look, eh?


Posted by jsebastianperry at 09:39 CDT
Updated: Saturday, 30 July 2011 11:27 CDT
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Saturday, 2 April 2011
The Sims music
Now Playing: If The Walls Could Talk
Topic: Game Music

Okay, so I didn't get back here in time to make good on my promise to explain why I took Freshmen 4 Ever down. It's a long and complex story which really has nothing to do with today's entry, so I'll just say this about it. I had to compress it too much to make it fit into my Tripod account's 20 MB of storage space, making it sound just... not the way I wanted it to. All muddy and difficult to listen to is not how it should sound. Anyway, onto the point for today.

Although I've already mentioned this on Of Carbon and Silicon, I wanted to talk about it again here because some new stuff has come up and this is where I talk about music nowadays.

The Sims is just about the niftiest game of all time. Notice I said "The Sims"... not The Sims 2 or The Sims 3. Why? First, a tale is required...
I played The Sims (or The Sims Classic) for the first time when I was 12. Although the game, itself, was frustrating at first -- "§20,000? That's not enough to build a mansion!" -- I did enjoy making Sims, because A) it's nifty to play God if given the opportunity and B) I liked the neighbourhood music and using Create-a-Sim Mode ad nauseam was more acceptable to me than just leaving the game running to listen to the score. It wasn't until I really started to pay more attention to music in high school that I did some research into the game's musical score. The majority of it was written by Jerry Martin, Marc Russo, and Robi Kauker. Further, it wasn't until I discovered my ability to improvise on the piano that I discovered the Build Mode piano solos were improvised. Finally, it wasn't until I started to do research for my side-project, The Mind's Rubbish Bin (a compendium of largely worthless information to clutter one's brain) that I discovered the precise reason why The Sims Classic's score was so different from its sequels.

Ever since Will Wright first approached Broderbund with the idea for a people simulator in 1990, no one thought it would work. In fact, Broderbund didn't like the idea, either... hence why it wasn't released until 2000. For that matter, Electronic Arts needed some convincing as well. They greenlit development of Wright's people simulator in 1997, fully anticipating market failure, just like the majority of the other simulators Maxis had been making since the advent of SimCity in 1989 (ever heard of Streets of SimCity, SimAnt, SimTower? No? Of course not, because they weren't particularly popular). EA's trepidation showed through in the project... critics had noted, upon the game's release, that even for computers of the time, The Sims AI was not as advanced as it should have been. This was mainly EA trying to save as much money as possible on a game they were convinced would fail. This modus operandi also explains the distinctiveness of the game's music. Most of the music and sound crew had worked on Maxis games in the past -- Jerry Martin and Robi Kauker had worked on SimCopter. Marc Russo got into the project because of his working relationship with Jerry Martin. Russo almost singlehandedly composed the entire neighbourhood score, with which I had been so enamoured when I first played The Sims.

The surprise success of The Sims led EA to spend quite a bit more money on development of The Sims 2, which included the musical score. Rather than hiring back Jerry Martin with his extensive connections with live orchestras and soloists, they chose to hire TV and film composing team Mutato Muzika (headed by Mark and Bob Mothersbaugh, ex-Devo)... for some reason, even though most of the team worked on the game's score, only Mark Mothersbaugh is given in-game credit.
In The Sims 2, the stereo object came into play. More significant was it in The Sims 2 than it ever was in The Sims Classic. Fundamentally, the stereo is an object in the Electronics category of Buy Mode. It plays music from one of several available "stations" (really, folders in the game's Music directory). The user can have their Sim activate it, change songs, change stations, dance to the music being played, and deactivate it. At first, EA hired local bands who, whilst not being household names, did have a number of posters stuck to bulletin boards and lampposts around L.A. Then, around the time the Nightlife expansion pack was released, Rod Humble was made vice-president of EA's new The Sims division (created from EA's own development studios and bits of what used to be Maxis) and was authorised to, in effect, "spend money to make money". Under Humble's Sims division, the stereo object began to feature "Simlish" renditions of popular radio songs, done by the artists who originally recorded them. Suddenly, recognisable names began showing up in the music menu... Skye Sweetnam, Natasha Bedingfield, The Pussycat Dolls, among others (and also male artists).

Now, here comes The Sims 3 in 2009. When it finally gets released, after being held back for what EA CEO, John Riccitiello, called "publicity reasons", I find that the game has started out with the background score taking a backseat to the big-name artists they have doing the "music" for the stereo object.

Allow me to reiterate the functions of the stereo in The Sims series... it is a furnishing object found in the Electronics category of Buy Mode. Once placed into a Sim's home the user can direct their Sim to activate it, change songs, change stations, dance to the music being played, and deactivate it. These options haven't changed since The Sims Classic. They're not likely to change in the future... really, what else can one do with a stereo? Apart from throwing it out a window, not much... nothing that would make a great deal of difference in The Sims, anyway.

Although I understand the capitalist viewpoint that you need to spend money to make money, I rather think EA have placed their priorities in the wrong area. Whilst I do like to see music, as a concept, get more recognition from the videogame industry, I don't like to see it being exploited for purposes of profit. As a composer, however, I find this emphasis on big-name artists to be a proverbial slap in the face. Not just to me, but to the music staff of The Sims Classic and, really, Steve Jablonsky, himself (the game's composer). Real composers, who slave over musical scores, day in and day out, until they get every note just right can't help but be insulted when a game designer calls for an unassuming underscore that won't outshine their all-star lineup of radio songwriters -- people who rarely if ever compose their own music or lyrics. The typical record label nowadays has a staff of composers and lyricists who write the material for which credit is usurped by some so-called "artist". The only art involved in radio songs is the art of the swindle.

Why does a stereo object in the fantastical world of The Sims, where money grows on trees and aging can stop long enough for one to become a police chief and a criminal mastermind, need to contain songs by actual, real-world people? There's a thing called the suspension of disbelief. Essentially, suspension of disbelief is the subtle science of fooling people into believing that what they are seeing is real (you, personally, are frequently under the suspension of disbelief, simply by playing games and watching television). This kind of mental trickery was present in The Sims Classic, thanks to the completely original stereo songs composed by Robi Kauker. The fact that Sims have different music than we do rounded out the illusion of the microcosm -- a miniature society with its own taste in music. Perhaps the singer says "glargo" here because to say "flardo" would be profane.
If the real world enters the microcosm too far, then the suspension is dissolved and the illusion starts to encroach into the uncanny valley. You begin to realise that these are electronically-created automatons that strive to look and act as humanlike as technologically possible.
I don't claim to be an expert on the mental processes, but to say that music is a huge part of this process would be a drastic understatement. There are no words that can sufficiently describe the effects that music has on the human psyche. Since music is purely auditory, it tends to carry more of an emotional response than something that is seen. A prime example of this is silent films. Since the movie, itself, has no audio of any kind, a piano or organ score was packaged with the film for a musician to play in synchronisation with playback. The sole purpose for this was that filmmakers discovered very early on that music plays a sizeable part in human emotion and, since they had no means of recording a musical score to play along with the film, they required a more hands-on approach, involving local musicians to play the film's score live.
Need more proof? Try playing a videogame with the music off -- not a simulator, but a game with a plot. Perhaps, The Legend of Zelda: Ocarina of Time. Mute the sound before you enter a dungeon. Are you as edgy as you would be with the sound enabled?

If EA continues down this path, I predict that the fourth installment of The Sims will contain no background score at all, with the big names completely taking over the soundtrack. The microcosm illusion will disappear entirely, making players realise that Sims aren't real, which will decimate the game's appeal. Those who do not completely abandon the series will begin to look to the past and see precisely where EA made their fatal mistake. The musical score.

At this juncture, I would like to shamelessly point out that I am always available at low rates... not that money is much of an issue for EA anymore. Plus, I've been improvising Sims Classic-like piano solos ever since I discovered the key of C7. It's one of the precipitating factors which led me to become a composer (one of several others, but this one more so than most).

Imagine if The Sims 4 got back to basics, being just an enhanced version of The Sims Classic... in gameplay and in music. I ask you... would this song not work in Build Mode?
If The Walls Could Talk
Of course, this is a bit more... shall we say, saccharine than others that I have devised, but it's the shortest one, which is good when you only have 20 MB of storage space on a server.

If nothing else, think on the science of music for a bit.


Posted by jsebastianperry at 13:00 CDT
Updated: Saturday, 30 July 2011 11:26 CDT
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Tuesday, 29 March 2011
Wowser! Check out THIS old stuff...
Now Playing: Not "Freshmen 4 Ever"
Topic: Game Music

A couple of days ago, I was rummaging about in my composing folder on my computer, looking for an NWC I thought I saved somewhere and it turned out I saved it somewhere completely different. Anyway, I came across a folder of improvs I did in the latter half of the last decade. These were mostly based on existing scores by other composers -- Koji Kondo being the most present. What purpose these were supposed to have served, I really can't recall -- the most recent one was from February of 2009... that's five months pre-Utopia! Given the folder they were in, "resume" (like, something you submit alongside a job application), I can only suspect that I was trying to make people think I was a better composer by messing with the work of others.
It was kind of weird, listening to all of those again. I probably thought they were really nifty back in the day, but now that I've published three albums, they all sound so completely simplistic. There was one point at which I thought that the new age genre was like modern art... throw something together in five minutes and call it symbolic. It really isn't, and I know that now. One of the original improvs I found was called "Arachnophobia", which consisted of me banging on random piano keys for a minute and ten seconds.

But, there was some stuff in there that I still think is nifty. For example...
Grotto/Cave Theme (Zelda: Ocarina of Time)
This one actually got some airtime on my old radio programme (maybe you heard of And Now for Something Completely Different on KZUM 89.3? No? Well, never mind, then).
As the title implies, this was based on a song from The Legend of Zelda: Ocarina of Time on Nintendo 64 (and, soon, Nintendo 3DS). The first opportunity the player has to hear the official version of this song is in the first dungeon, "Inside the Great Deku Tree". I liked how it's in an irregular key (C7), and generally how new age it sounds... somewhat out of place in a Zelda game, some would argue.
I recorded this improv before I even had my Fantom X6... the synth showcased here is the Yamaha PSR290. I got it in 2002 after pestering my mother for a new synthesiser (something to replace the PSS480 and to use in tandem with the YPP50). I still have it, though it gets very little use nowadays... mostly, it just sits under a towel/dust-cover, waiting to be used again.

One thing you've probably noticed about the music file at this point is that it's fairly low-quality. This is less about copyright and more about space... the original, uncompressed file weighs about 1.5 MB, and we just can't have that.
Otherwise, I can't remember the exact voices I used here, but I suspect it was the default grand piano and the first XG synth-strings voice one encounters whilst scrolling upward.

Next time, I will explain why Freshmen 4 Ever has been taken down.


Posted by jsebastianperry at 01:07 CDT
Updated: Saturday, 30 July 2011 11:25 CDT
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Thursday, 3 March 2011
The Incredible Crash Dummies' 20th Anniversary
Now Playing: The Junkyard
Topic: Original Music

Remember back to the early 1990s (if you can, that is) -- there was a really nifty line of action figures called the Incredible Crash Dummies. They were, unfortunately, discontinued in the US in 1995 and Europe in 2001. However, they stuck around long enough to justify the production of a 21-minute-long Incredible Crash Dummies cartoon, rendered entirely in CGI (the character models came from the television advertisements).
Without re-writing my webpage on this subject, the Crash Dummies were an integral part of my childhood. In fact, Jim Morgan's theme to the pilot Crash Dummies episode was a key factor in my deciding to become composer.

However, even though 1993 seems very recent to me, it actually hasn't been 1993 for 18 years! Eighteen! Someone born on the day that The Incredible Crash Dummies aired will graduate from high-school this year! The line of action figures, though, is a bit older. It will turn 20 in, I think, November.
So, rather than let this momentous occasion pass unnoticed, I decided to use my Game Maker to make a Crash Dummies adventure game. Whilst the game, itself, is not finished (I'm likely to put it up on my other website when it is), I have finished with the overworld theme. And, to commemorate the niftiest line of toys since ROB, I've decided to post the theme's MIDI here.
The Junkyard

The game's title is Spin's Junkyard Adventure. As the name implies, it involves Spin exploring the Junkyard (where I always imagined that Junkman's lair was) in order to find all of Slick's parts. The Junkyard is one-half of the game's entire soundtrack (thus far, anyway) -- it plays during gameplay.

The song is based on Koji Kondo's principle that a level's background score should reflect the type of adventure the player-character is likely to find there. It's only a minute long, meaning that it can make two or three complete loops by the time the player finishes the level. Since it's likely to loop many times by the end of the game, I made sure that it wouldn't get terribly irritating. A lot of upstart Flash game composers make the mistake of writing short songs for long levels which include many of the standard MIDI sins -- putting a saw-wave in the melody line, trying to make the GM1 Distortion Guitar sound like its real-world counterpart (lots of slides and vibrato), and using a two-measure drum loop, for example.
I don't know the exact genre into which The Junkyard fits, but I used no synth-lead or synth-pad sounds at all, just the pseudo-acoustic ones. Plus, the chord on which the song is built, C-minor 6 (notated "Cm6") suggests neither the major key ("happy") nor the minor key ("sad"), but rather a sort of stealthy, misterioso situation.
The melody isn't really based on anything but the chosen chord. I suppose that parallels could be found between it and Morgan's Crash Dummies theme if one looks hard enough, but no reference was intended.
Also, the song is intended to loop ad infinitum.

I may, in the future, expand on this song to make it longer and more complex, but for the moment, I think it serves its purpose as a game underscore.

I appreciate feedback, also. So, if you liked it, didn't like it, think you can make it better, what-have-you, don't hesitate to post a comment.

Merci beaucoup. Rétournez a demain, peut-être.


Posted by jsebastianperry at 08:32 CST
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