No return celebration is complete without my next Mega Man Orchestra: Spark Mandrill !!!! Comes out this week, and it feels good to get back into the swing of things - everything is improved so now I’m not only faster but I’m also better now.
Every note in this orchestra arrangement screams happiness. You can just feel it. You know I’m back, you know Mega Man is about to kick some ass, and you know the cover art screams “dsakfjhsadjkf!”.
I’ve been thinking a lot. I’ve been thinking about stories, faces, and eyes. Those 3 things have been the difference of whether I really connect with something anymore. Stories give me a theme to follow - something to hold onto and think about. Faces give me an identity - something (or someone) I can see myself as. And eyes give me an emotion - a feeling I can center everything around and communicate through.
I really wanted to capture those 3 things with this next piece. I wanted it to be thematic, relevant, and hit you right in the feels. For the video I’m going to use my eyes a lot because I want the music notes to “speak” to you somehow. This video will not be a dance but instead use my face because I want to try a new idea with the story-telling aspect - speaking through the eyes.
As you listen you’ll hear improvements in my trumpet and brass writing, and you’ll hear the quick percussive drum fills perfectly closing after the big brass phrases. Over the years as much as I’ve loved to pair the flutes with the basses I’ve also always loved the combination of snare drums and brass. To me, it just sounds so aggressive to create a march-like emotion that leaves the listener on edge.
And what an edge it is. The solo is joyous and crushing. It’s one of favorites, right up there with my Final Fantasy or Wooden Toaster arrangements. The violins perfectly punctuate the fast melody while the basses answer their calls. And the clarinets and oboes bring it all to a close as the two instruments dance alone… together.
Can the hero in blue save the world from the wrath of Spark Mandrill? We’ll all find out soon enough.

No return celebration is complete without my next Mega Man Orchestra: Spark Mandrill !!!! Comes out this week, and it feels good to get back into the swing of things - everything is improved so now I’m not only faster but I’m also better now.

Every note in this orchestra arrangement screams happiness. You can just feel it. You know I’m back, you know Mega Man is about to kick some ass, and you know the cover art screams “dsakfjhsadjkf!”.

I’ve been thinking a lot. I’ve been thinking about stories, faces, and eyes. Those 3 things have been the difference of whether I really connect with something anymore. Stories give me a theme to follow - something to hold onto and think about. Faces give me an identity - something (or someone) I can see myself as. And eyes give me an emotion - a feeling I can center everything around and communicate through.

I really wanted to capture those 3 things with this next piece. I wanted it to be thematic, relevant, and hit you right in the feels. For the video I’m going to use my eyes a lot because I want the music notes to “speak” to you somehow. This video will not be a dance but instead use my face because I want to try a new idea with the story-telling aspect - speaking through the eyes.

As you listen you’ll hear improvements in my trumpet and brass writing, and you’ll hear the quick percussive drum fills perfectly closing after the big brass phrases. Over the years as much as I’ve loved to pair the flutes with the basses I’ve also always loved the combination of snare drums and brass. To me, it just sounds so aggressive to create a march-like emotion that leaves the listener on edge.

And what an edge it is. The solo is joyous and crushing. It’s one of favorites, right up there with my Final Fantasy or Wooden Toaster arrangements. The violins perfectly punctuate the fast melody while the basses answer their calls. And the clarinets and oboes bring it all to a close as the two instruments dance alone… together.

Can the hero in blue save the world from the wrath of Spark Mandrill? We’ll all find out soon enough.

There are two types of professions that make it their business to ensure shitshows don’t happen:

katykelley:

PR and HR.

and ER

kenyatta:

kenyatta:

continuants:

padalekki:

It’s Avocado Season

gpoy

Reblogging to make this point…

Views on original YouTube video:

Notes on Tumblr post:

Which means that the Tumblr in-dash views are probably exponentially higher.

Update: the tumblr notes for this post are up to:

image

While the YouTube video:

image

mememolly has a great rule for shooting web video: compose your shot so that it’ll make a great gif. 

If a meme (in the broadest sense of an ‘idea’) lends itself to translation from one format (YouTube video) to another (Tumblr gif, reddit image macro) it increases its range of possible host platforms.

The more commonly accepted formats there are on a platform, the greater the range of possible memes + expressions.

It’s why I’m ultimately bullish on Vine as “Twitter video” and why I love the rise of the “viral” text post on tumblr. Both widen the paradigm of possible commonly accepted expression within communities.

Related via hautepop

The cross-platform travels of a viral tweet - from Twitter to Imgur, Tumblr & Facebook

Great tip

stunningpicture:

The entrance to the car park of Estonian State Opera.

stunningpicture:

The entrance to the car park of Estonian State Opera.

(via gottabeastringplayer)

asker

djmanultimate asked: I know you may get a lot of requests everyday, but do you think it's a possibility that we could get a Dragon Ball Z For Orchestra to coincide with the release of the new film in the US?

abso freaking lutely

Soundtracks And Trailer Music Feature

'ForOrchestra' was featured on Soundtracks and Trailer Music this week by the wonderful Karen Bennetzen.

It turned into a 1 hour conversation about art, life, school, music, and more.

Some interesting things about my new journey, but this quote is my favorite:

The consumer is on auto-pilot, they’re gonna do what they do, and it’s up to you as a producer to adapt to them. It’s much easier for you to try and rotate the ship rather than change the ocean.”

Here’s the article 

Also check out Karen’s artwork :)

The Obstacles I’ve Had These Months

Having had a pretty successful music show in 2007, the one thing I never learned was production skills. If I had then everything would have been different for me. Fast forward to 2014, and I’m night-and-day when comparing knowledge to my younger self.

So with this new dance idea, while I know that this idea can work, I don’t know that it will work. Rather than spend months to prepare for this and reading books on it, I instead just jumped into this head-first and learned so much more through experience. So here are some things I’ve learned.

1.) Wrong dance style. When the choreographer asked me what I wanted the Punch-Out!! video to look like, I replied “beautiful” and “involve punching”. The result was a dance style that I didn’t enjoy, but it was my fault for not researching and being descriptive enough.

2.) I thought all dance was the same. Jazz guitar players could easily play heavy metal or new age if they had to. So coming from a music background, I thought dance styles were similar. When I realized that contemporary dancers couldn’t do hip hop then it was a long expensive lesson. The choreographer had to sit me down and drop some knowledge on me. 

3.) My boxing ring broke. I thought everything was ready for taping, so I brought my boxing ring to the first rehearsal. Not only was it nearly impossible to carry, but the ring broke during filming. This is why I treat rehearsals like the real thing, so that I can prepare for failure.

4.) Maintenance and follow-through. I called universities, local dance schools, friends, family, and more. Weeks went by and I was getting frustrated trying to get people onboard for this idea. Some dancers were “yes” all the way up until the week of filming. They never followed-through.

5.) I got burned, once. I had to rent lighting and video equipment but every place was out of stock, which meant I would have to reschedule everything. That wasn’t an option, so rather than get burned again I decided to just buy the equipment myself and learn it as I went.

6.) This will be easy. I talked about how I thought filming this video was as simple as picking 2 dancers, buying a camcorder, and filming it all on a weekend. Then reality happened.

7.) The rabbit-hole goes deep. Aside from just buying a camcorder, it turns out that there was a certain kind of camcorder I needed. Certain green screen. Certain dance studio and floor. Certain dancers (the original ones I had were the wrong style). And certain software I needed. I had to travel a lot, go over my internet data to keep researching, build the boxing ring, buy the outfits, choreograph, write the story, and so much more. Why not just hire a production team? Because almost everyone was $100/hr, some didn’t return my calls, while others didn’t understand what I wanted,

I’m just glad it’s all done. Not because it was a horrible experience (it was both good and bad), but because I learned so much and just needed a breather. My short list of things I learned are hopefully the beginning of a much longer list! Keep growing :)

johnhexcarter:

grooseman:

Falcon still kicking some ass!

the only part of the new smash video i cared about. FALCON IS BACK

that framerate tho

Mike Tyson’s Punch-Out!! For Orchestra

Patreon, BandcampiTunes, Video

What’s this I hear that Gotye scored the winning goal?

What’s this I hear that Gotye scored the winning goal?