Looks like you've definitely improved your art somewhat! Well done David!
o-o-o-o...kay that was weird! but cool animation though!
That got a bit crazy a bit too quickly...
I found this game fun and challenging, hopefully you get the exposure you need to get this game out there! Also thanks for working with me!
This was one of the best compositions you probably ever made, I like the sampling and the general soundset. It was back in the Sequel 1 days, so it was the stripped down version of HAlionOne which was used, possibly with input from your collection of other keyboards you had at the time (I am guessing here). I composed Insania for the drama production, "Insitutional Madness", which went down amazingly well! It was so cool that you helped out like you did for the soundtrack of it and even cooler that you decided to effectively made this remix of Insania, X amount of years later, hats off to you Fireball01e! But (this is for other poeple to read if they are interested) for how early this was in my composing carreer, this still managed to pull in up to a thousand people a night for a week and becuase of how well it did and the fact we were sel;ling out every night we did four days extra and the extra night in Carling Academy in Bristol, which they effectively allowed us to do for free, and offered us the slot for that night, when they only usually give slots tro people like Gary Numan and Radiohead; So it was a great honor too get a chance like this to write a composition and perform it in front of so many people. The Drama production as I remember wasn't amazing. but as we found out at a a couple of months later when we got a award for the soundtrack, poeple admitted only coming to hear the soundtrack as some people said they had never heard anythng like this before in their lives, which was a amazing accolade.
We performed it with a partital backing track as in the end the live team was only me, a guitarist, bass player, drummer, Micheal Narres with his accordion and pianist skills, Jeff Daniels on synths and you on mixer. I remember the final gig in bristol (brissel for the locals), we ended up charging people about £35-40 to get in as we were having a problem with too many people showing up, as it was originally a free to get in production. But it was such a weird feeling, you know scoring music and for the first time kind of being regognised for the work you are doing, I thought at the time it was very funny concept. Also on the last night being called up after the show onto stage and the narrator saying I was responible for the music, I had visions of being boo'ed off the stage? But no, I got a few seconds of silence and, then a standing ovation that seemed like it was never going to stop. I remember you coming up, nearly in tears, gave me a hug, then said a few words and walking off with me and then we went to the after party, which was not too bad, but I personally just wanted to go home, because those perfomances really took quite a bit out of me.
I know that a lopt of people were really quiet annoyed that we never recorded a soundtrack CD, but I know that at that time you didn't own you rown studio, and it would have been choice of Painwick studios @ about £70-90 a hour with mixing and in house mastering. Or I guess we could have recorded with Brian Loman and possibly Davis, but I doubt they would have done it for free either. I never even had the time, because after that I starfted a new project with Hamish and the Mad Cows on produing their first major album, and I also believe that was around the time I did that project with Jeff Downes and sending all sorts of samples and stuff to Sir T Horn, but that was such a long time ago. It was so fun back then doing all this musical stuff, I really thought I was going in the right direction and was slowly sailing towards sometype of fame, but Painswick wouldn't take me on as a apprenctice and told me I needed qualifications which I did for four years, ending up quiting as I just lost interest. I found out that Painswick would have never taken me on anyway as they had Adam Butcher as a apprentice for nearly eight years, Brian died and Davis moved to Dorset and I kind of became a nobody, which occasionally makes tracks tracks for Newgrounds and Youtube, Sad really. I know I got signed to Diamond, but that is a really really bad deal @ 3.5% of total sales and royalities. Freshtunes utterly screwed me over and I recently hadf the that suit againstg BMG/WMG which just wasn't fun at all, that as I told you was dropped, but I could have been sued for tens of thousands and as I don't have that kind of money I would have most likely gobne to prison. I knew you could copyright compositions, riffs and vocals but I never thought I would be potientially screwed over a hamonised square wave, they sued over a sound so daft. But all I had to do was remove all traces of sad song from the internet and they left me alone, but I nearly lostg my contract with Diamond/Palophone, which would have been absolutely gutting, as I doubt I would ever get that kind of contact ever again...Shittz happens!
I'm thinking of re-relea\sing myu single that I did for Diamond on NG, but I need to get permission as they could get pretty shitty over it if I released it for free, with a free download...I guess they are making money and air time from me, sao I can't really complain.
I still wonder if Sycho MPM wiould have given me a better deal? LOL....
I had a really fun time with you and Jay recording the riffs and piano parts. So this is what you did with my overall composition when I left yesterday? Really like the overall sound and the drive which it has behind the song. There is a few places I would like it if you turned certain instruments up or down, maybe through automation. But I think this is a very danceable piece, would I get your explicit permission to put this on my Soundcloud and YouTube accounts? I would like to do this as I believe this might go down really well with that dance album which I told you which I am currently developing for Newgrounds...etc...I really like Jay and his technical knowledge, I asked him if he has or would consider getting a NG account; maybe you could ask him on my behalf as I think his work would go down on this platform really well.
P.S: As you quieres yesterday, I have indeed finished my short album for Parlophone/Diamond records and my manager has listened to it and is really happy with it and we are working towards a summertime release date. I unforentatly will not get the best deal (something like 8%), with overall sales, but I'm mainly doing this release to get better recognition in the music industry. Sean bradley assured me that we will get possibly a 25-30% deal on our next album,if this short album does well. They have already used part of one of the songs in a channel 4 advert which is really cool as my only TV exposure before was the song I did for the horror channel on satellite TV. I'm also been told that "like a Dream 2017 mix" has been a regular on BBC radio for the last eight or so months and looking at my royalties account, I'm actually starting to get a small bit of money; which I put towards spending on a new sound card at the beginning of this year!
Anyway I hope you are well and hope to meet up with your brother to do a but of guitar work next Wednesday. I also have Alan in the studio tomorrow afternoon, and hopefully get a few vocal pieces recorded, which in turn I will give you copies to see if you want to do a artistic musical project with it...as I know you really like that kind of thing! Any peace out and speak soon! Yours Stu
I really like the end result of this piece, my vocals work really well on this (I guess it was Autotuned?) The piano in the mid section is pretty cool, as well as the chorus, which is very punchy! The bass is pretty cool at the beginning. This reminded me of Youngr's version of Temper Trap, not the same and original, but the same start up.
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