Making Rent with Reason!

This forum is for discussing Reason. Questions, answers, ideas, and opinions... all apply.
RobC
Posts: 1833
Joined: 10 Mar 2018

16 May 2018

Nothing much, really. I'm just too dumb and unlucky with management/networking. The few whom I did what they asked for, were amazed - but yeah other than that, 'how can a sound exist if there's no-one to hear it'. So I'm definitely not a concurrence to worry about.

But if I had a manipulative psychopath's mind!!! ...but I don't. F'd for life.

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chimp_spanner
Posts: 2908
Joined: 06 Mar 2015

16 May 2018

MattiasHG wrote:
16 May 2018
chimp_spanner wrote:
16 May 2018


Love the examples you posted Mattias! Was this work you canvased for yourself? How did you get yourself out there? I would love to at least start with indie games to build up a portfolio but - while I know a lot of people who do the work - I'm not so sure how to get into it myself.
Happened primarily because of two reasons I think. First, I was heavily involved in ocremix.org from when I was like 17. Through them I learned a lot about making music and about video games, and also got involved in making two songs for the Street Fighter II Turbo HD Remix project. Simultaneously I hung out on a lot of forums/IRC channels like TIGSource when that was happening. I just met a lot of people there and some of them eventually needed music.

It's a lot tougher now I think, many people see video game music as a very valid career (which it is!) and when you reach a certain age or professionalism, you'll have to approach it like any job. Contact people, create demo reels, get out there etc.
Yeah I feel that. It's kinda like when I started my solo/bedroom stuff back in the early 00's. You could self promote and build a fanbase just by chilling on forums, and it was also super rare for that kind of music (metal) to be done in a bedroom to that level. Now it's disgustingly common, and harder to rise above the noise floor of new release hype every 10 minutes! Same applies to most genres I think. Making music is way more attainable for way more people, which is great btw. But it does make it harder to stand out. I definitely need to work on a new demo reel though. My timing's always been a bit off; I meet people with connections but don't "level up" until after the window of opportunity to show them. But I've done some good work over the last year. Enough to hopefully make an impression. So that's tonight's job!

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chimp_spanner
Posts: 2908
Joined: 06 Mar 2015

16 May 2018

RobC wrote:
16 May 2018
Nothing much, really. I'm just too dumb and unlucky with management/networking. The few whom I did what they asked for, were amazed - but yeah other than that, 'how can a sound exist if there's no-one to hear it'. So I'm definitely not a concurrence to worry about.

But if I had a manipulative psychopath's mind!!! ...but I don't. F'd for life.
I think luck is a state of mind man, rather than something you have or don't have. Lucky people just have their field of vision widened to be more perceptive to opportunities (something where I could definitely stand to improve myself!). If you have the time/inclination, watch Derren Brown's special on the "lucky dog". It's really heartwarming, but also super applicable to so many situations. The dude is basically a mind-wizard. I'd like to spend a day with him and just let him reprogram me haha.

jimmyklane
Posts: 740
Joined: 16 Apr 2018

16 May 2018

MattiasHG wrote:
16 May 2018
chimp_spanner wrote:
16 May 2018

It's a lot tougher now I think, many people see video game music as a very valid career (which it is!) and when you reach a certain age or professionalism, you'll have to approach it like any job. Contact people, create demo reels, get out there etc.
I agree. In my world the networking and business promotion are the most important aspects of it. Of course a demo reel has to be spot on, but you can’t please all of the people all of the time, so you need a LOT of contacts at different studios to keep yourself working. Working with games vs TV/Film is similar yet very different, as with games you don’t always have to work within “locked” picture unless it’s a cutscene. In addition, you have to be able to write multiple cues for the same situation/level depending on context in the game (combat, discovery, death, etc). In TV/Film, the picture is NOT changing. Your music must change if they decide to cut 30 seconds out of a scene! Big challenge if you feel you’ve nailed the meter and feel of a scene....
DAW: Reason 12

SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine

SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!

www.soundcloud.com/jimmyklane

RobC
Posts: 1833
Joined: 10 Mar 2018

16 May 2018

chimp_spanner wrote:
16 May 2018
RobC wrote:
16 May 2018
Nothing much, really. I'm just too dumb and unlucky with management/networking. The few whom I did what they asked for, were amazed - but yeah other than that, 'how can a sound exist if there's no-one to hear it'. So I'm definitely not a concurrence to worry about.

But if I had a manipulative psychopath's mind!!! ...but I don't. F'd for life.
I think luck is a state of mind man, rather than something you have or don't have. Lucky people just have their field of vision widened to be more perceptive to opportunities (something where I could definitely stand to improve myself!). If you have the time/inclination, watch Derren Brown's special on the "lucky dog". It's really heartwarming, but also super applicable to so many situations. The dude is basically a mind-wizard. I'd like to spend a day with him and just let him reprogram me haha.
Alright, but I failed to develop even with hard work, a proper networking skill to begin with. So I'm starting to realize it's really not the field for me.

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esselfortium
Posts: 1456
Joined: 15 Jan 2015
Contact:

16 May 2018

chimp_spanner wrote:
16 May 2018
MattiasHG wrote:
16 May 2018


Happened primarily because of two reasons I think. First, I was heavily involved in ocremix.org from when I was like 17. Through them I learned a lot about making music and about video games, and also got involved in making two songs for the Street Fighter II Turbo HD Remix project. Simultaneously I hung out on a lot of forums/IRC channels like TIGSource when that was happening. I just met a lot of people there and some of them eventually needed music.

It's a lot tougher now I think, many people see video game music as a very valid career (which it is!) and when you reach a certain age or professionalism, you'll have to approach it like any job. Contact people, create demo reels, get out there etc.
Yeah I feel that. It's kinda like when I started my solo/bedroom stuff back in the early 00's. You could self promote and build a fanbase just by chilling on forums, and it was also super rare for that kind of music (metal) to be done in a bedroom to that level. Now it's disgustingly common, and harder to rise above the noise floor of new release hype every 10 minutes! Same applies to most genres I think. Making music is way more attainable for way more people, which is great btw. But it does make it harder to stand out. I definitely need to work on a new demo reel though. My timing's always been a bit off; I meet people with connections but don't "level up" until after the window of opportunity to show them. But I've done some good work over the last year. Enough to hopefully make an impression. So that's tonight's job!
I became interested in doing game music work back around 2010 and only in the past year did things really properly start happening with it, so I can easily empathize there. I definitely felt that sense of being perpetually just a little bit too late to the party.

Some assorted recommendations based on my experience. Take these with several grains of salt because they're just my personal experience and someone else's will surely be different:

Make sure you keep recording and releasing music. Actually releasing it is key, and I went for way too long without doing that, letting my publicly available music get further and further out of date. It doesn't much matter how good you've gotten if no one can hear it.

Writing specific demo-reel material can be good to show your versatility and expand the range of styles you're comfortable with, but let yourself keep experimenting and coloring outside the lines, too, and don't neglect making the things that you really want to hear. This is crucial both to keep yourself invested, and to have something unique to bring to the table when someone does get to hear your work. I was lucky enough to get a soundtrack project because a developer happened to hear my PC Love Letter EP and wanted its specific sound for a game.

Try exploring Kickstarter now and then and emailing people who are doing games. When I did this, I specifically focused on visual novel developers because that was a niche I wanted to get into, but I also looked at countless other game projects and sent a lot of emails to them too. I would skim and ctrl-f each page to see if I could find any reference to having a composer lined up already, but in general it's more realistic to expect that if you get anything at all from a contact, it's probably going to be a "we'll keep you in mind for the future" rather than "whoops, good idea, we don't have any music for this yet".

If you get any "maybe later" replies and they look like someone you'd really like to work with, try to keep up with them if at all possible, whether it's via email or something else. If they have a public Discord server or other online community, try to make yourself visible and approachable.

If you're sending out form letters, at least try to personalize them a bit so that the person receiving it can tell that you actually took some time to look into what they're doing before asking them to take the time to look into what you're doing. I know it's time-consuming and demoralizing because it so rarely leads anywhere, but it can be worthwhile, and if you're going to do it, take the time to do it right so you can make a hopefully positive impression instead of a rude one.

If you know people who are making cool things outside of the professional realm, getting involved can be a good idea, if you've got enough genuine interest in it to do so as a hobby rather than as a job. In addition to being a cool outlet for making stuff right now, it can potentially lead to professional opportunities further down the line. Remember that the creators you look up to now had to get their start somewhere too, and if the friends you've collaborated with for fun ever find themselves in the professional realm needing to hire a composer someday, they might think of you.
Sarah Mancuso
My music: Future Human

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chimp_spanner
Posts: 2908
Joined: 06 Mar 2015

17 May 2018

No I think you've pretty much nailed it Sarah! The big difference between now and when, perhaps, more things were happening for me is that I'm not releasing any new/personal music, where back then I was a little more known for it. So that's definitely something that has to change. Plus if I'm kinda waiting for "the big thing" before I start writing again, a) it might never happen so I'll never write, b) if it does happen I won't have been writing so I'll be out of practice and c) it might not happen BECAUSE I'm not writing and getting my work out there. So that's really something for me to take on board. Really appreciate the detailed response.

For anyone who's interested I'm trying to cobble together some kind of showreel. I have a lot of stuff but I'm trying to focus in on the kinda soundtracky/emotive stuff. Any thoughts or criticism welcome!

https://www.dropbox.com/s/h1osok83y6zuw ... t.mp3?dl=0

BTW the first part is indeed Han's theme. It was a failed pitch haha. Oh and of course, all Reason \m/

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esselfortium
Posts: 1456
Joined: 15 Jan 2015
Contact:

17 May 2018

chimp_spanner wrote:
17 May 2018
No I think you've pretty much nailed it Sarah! The big difference between now and when, perhaps, more things were happening for me is that I'm not releasing any new/personal music, where back then I was a little more known for it. So that's definitely something that has to change. Plus if I'm kinda waiting for "the big thing" before I start writing again, a) it might never happen so I'll never write, b) if it does happen I won't have been writing so I'll be out of practice and c) it might not happen BECAUSE I'm not writing and getting my work out there. So that's really something for me to take on board. Really appreciate the detailed response.

For anyone who's interested I'm trying to cobble together some kind of showreel. I have a lot of stuff but I'm trying to focus in on the kinda soundtracky/emotive stuff. Any thoughts or criticism welcome!

https://www.dropbox.com/s/h1osok83y6zuw ... t.mp3?dl=0

BTW the first part is indeed Han's theme. It was a failed pitch haha. Oh and of course, all Reason \m/
These sound absolutely incredible! I don't think I can come up with any objective complaints because you're doing fantastic work there.

For my personal-taste comment, I'd say I'd love to hear coverage of some more intimate melodic territory, as even the softer tracks here still mostly have a very "epic" large-orchestra feel to them. That epic sound is great and you're doing it very well, though, so it makes sense to focus on it!
Sarah Mancuso
My music: Future Human

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selig
RE Developer
Posts: 11685
Joined: 15 Jan 2015
Location: The NorthWoods, CT, USA

17 May 2018

RobC wrote:
chimp_spanner wrote:
16 May 2018


I think luck is a state of mind man, rather than something you have or don't have. Lucky people just have their field of vision widened to be more perceptive to opportunities (something where I could definitely stand to improve myself!). If you have the time/inclination, watch Derren Brown's special on the "lucky dog". It's really heartwarming, but also super applicable to so many situations. The dude is basically a mind-wizard. I'd like to spend a day with him and just let him reprogram me haha.
Alright, but I failed to develop even with hard work, a proper networking skill to begin with. So I'm starting to realize it's really not the field for me.
You sound defeated… [emoji20]

How are you measuring your “development”; by the amount of money earned, or by your own personal satisfaction and joy with results, or with the process itself?

Put another way:
Do you enjoy making music (the process)?
Because if not, you are definitely in the wrong field.

Speaking of fields, there are MANY fields in the music world, as esselfortium and other have mentioned. Keep searching if you’ve not found the field for you to date.

For example, I f your own music isn’t making you happy, consider working on other folk’s music - I get as much joy from helping others with their music as I do with my own, and have probably done this far more than working on my own music in my life. There are also many technical fields in music as well as creative fields to explore (which also bring me joy!) - so much to explore and so many opportunities.

There’s also the simple joy of making music for yourself - I sometimes sit at a piano and just play without recording and without any other intention other than enjoying the moment, which can sometimes bring greater joy than hearing my work on the radio or TV!

Bottom line IMO, if you have any joy in making music, it’s the field for you (maybe not the only field). But if there’s no joy whatsoever then I’m not sure why you would be here in the first place!

I sincerely hope you find your joy (if you have not already done so), either in music or another field. [emoji3]


Sent from some crappy device using Tapatalk
Selig Audio, LLC

User avatar
chimp_spanner
Posts: 2908
Joined: 06 Mar 2015

17 May 2018

esselfortium wrote:
17 May 2018
chimp_spanner wrote:
17 May 2018
No I think you've pretty much nailed it Sarah! The big difference between now and when, perhaps, more things were happening for me is that I'm not releasing any new/personal music, where back then I was a little more known for it. So that's definitely something that has to change. Plus if I'm kinda waiting for "the big thing" before I start writing again, a) it might never happen so I'll never write, b) if it does happen I won't have been writing so I'll be out of practice and c) it might not happen BECAUSE I'm not writing and getting my work out there. So that's really something for me to take on board. Really appreciate the detailed response.

For anyone who's interested I'm trying to cobble together some kind of showreel. I have a lot of stuff but I'm trying to focus in on the kinda soundtracky/emotive stuff. Any thoughts or criticism welcome!

https://www.dropbox.com/s/h1osok83y6zuw ... t.mp3?dl=0

BTW the first part is indeed Han's theme. It was a failed pitch haha. Oh and of course, all Reason \m/
These sound absolutely incredible! I don't think I can come up with any objective complaints because you're doing fantastic work there.

For my personal-taste comment, I'd say I'd love to hear coverage of some more intimate melodic territory, as even the softer tracks here still mostly have a very "epic" large-orchestra feel to them. That epic sound is great and you're doing it very well, though, so it makes sense to focus on it!
Thank you for listening! Glad you like it :) Yeah I mean I guess maybe a little of that is a side effect of trying (and failing) to get into the trailer game, where everything is turned to 11 all the time. In general I do like softer, more melancholic music. But I'm assuming - maybe wrongly - that music supervisors wanna be BLASTED in the face by a demo reel. Perhaps this isn't the right approach? I dunno!

Really what I need to do is figure out a strategy. Like, I'd feel kinda dumb just emailing companies out of the blue. Or is that literally what you have to do?

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esselfortium
Posts: 1456
Joined: 15 Jan 2015
Contact:

17 May 2018

chimp_spanner wrote:
17 May 2018
esselfortium wrote:
17 May 2018


These sound absolutely incredible! I don't think I can come up with any objective complaints because you're doing fantastic work there.

For my personal-taste comment, I'd say I'd love to hear coverage of some more intimate melodic territory, as even the softer tracks here still mostly have a very "epic" large-orchestra feel to them. That epic sound is great and you're doing it very well, though, so it makes sense to focus on it!
Thank you for listening! Glad you like it :) Yeah I mean I guess maybe a little of that is a side effect of trying (and failing) to get into the trailer game, where everything is turned to 11 all the time. In general I do like softer, more melancholic music. But I'm assuming - maybe wrongly - that music supervisors wanna be BLASTED in the face by a demo reel. Perhaps this isn't the right approach? I dunno!

Really what I need to do is figure out a strategy. Like, I'd feel kinda dumb just emailing companies out of the blue. Or is that literally what you have to do?
I can't blame you there. It definitely feels a bit awkward to do. It might still be worth trying if you don't have any other avenues that look promising at the moment, though. I haven't done it in a long while now, but all those emails did lead me to one connection... eventually.

As far as style goes, it really depends on the projects you're looking to work on. You might even consider having a couple of different reels with different focuses depending on the looks of the project.

I'm far from being a pro so this is just my personal feeling on it, but I think the most important things to do in a music demo reel are to make people feel things, demonstrate your range, and to let the personality of your work show through (i.e. the personal touches that distinguish your creations from others). If you love soft melancholic music, I would definitely let that passion show in your reel! You're very good at the blast-the-roof-off epic productions and I'd definitely include them proudly in there, just make sure you're not painting yourself into a corner and hiding your other strengths.

Hopefully someone else with more experience will chime in with other advice because I don't want to accidentally lead you astray here :lol:
Sarah Mancuso
My music: Future Human

RobC
Posts: 1833
Joined: 10 Mar 2018

18 May 2018

selig wrote:
17 May 2018
RobC wrote:
Alright, but I failed to develop even with hard work, a proper networking skill to begin with. So I'm starting to realize it's really not the field for me.
You sound defeated… [emoji20]

How are you measuring your “development”; by the amount of money earned, or by your own personal satisfaction and joy with results, or with the process itself?

Put another way:
Do you enjoy making music (the process)?
Because if not, you are definitely in the wrong field.

Speaking of fields, there are MANY fields in the music world, as esselfortium and other have mentioned. Keep searching if you’ve not found the field for you to date.

For example, I f your own music isn’t making you happy, consider working on other folk’s music - I get as much joy from helping others with their music as I do with my own, and have probably done this far more than working on my own music in my life. There are also many technical fields in music as well as creative fields to explore (which also bring me joy!) - so much to explore and so many opportunities.

There’s also the simple joy of making music for yourself - I sometimes sit at a piano and just play without recording and without any other intention other than enjoying the moment, which can sometimes bring greater joy than hearing my work on the radio or TV!

Bottom line IMO, if you have any joy in making music, it’s the field for you (maybe not the only field). But if there’s no joy whatsoever then I’m not sure why you would be here in the first place!

I sincerely hope you find your joy (if you have not already done so), either in music or another field. [emoji3]


Sent from some crappy device using Tapatalk
I meant, my networking skills didn't really improve, not even if I tried hard.
If there is a goal, then I enjoy any audio work. If in the end, no-one cares, and I know it beforehand, then I lose motivation.
Still not about any of the fields, but... sure there aren't as many fishermen, as many fish there are in the sea, but if my worm isn't attracting any fish, it must be the reason why it didn't work out for me, as I was told yesterday, and I can agree there (after I understood, what I enjoy, might be enjoyed by no-one else).

RobC
Posts: 1833
Joined: 10 Mar 2018

18 May 2018

MattiasHG wrote:
16 May 2018
chimp_spanner wrote:
16 May 2018


Love the examples you posted Mattias! Was this work you canvased for yourself? How did you get yourself out there? I would love to at least start with indie games to build up a portfolio but - while I know a lot of people who do the work - I'm not so sure how to get into it myself.
Happened primarily because of two reasons I think. First, I was heavily involved in ocremix.org from when I was like 17. Through them I learned a lot about making music and about video games, and also got involved in making two songs for the Street Fighter II Turbo HD Remix project. Simultaneously I hung out on a lot of forums/IRC channels like TIGSource when that was happening. I just met a lot of people there and some of them eventually needed music.

It's a lot tougher now I think, many people see video game music as a very valid career (which it is!) and when you reach a certain age or professionalism, you'll have to approach it like any job. Contact people, create demo reels, get out there etc.
I remember OC Remix. I once did a remix of a Jazz Jackrabbit 1 song in 2012, showed it to Alexander Brandon on fb, who immediately suggested me to submit it to that site. Seeing, it would have taken almost a year to be checked out, I lost my motivation there, too. xD - Idiot me, should have at least tried to ask AB to maybe poke the staff, for a quicker listen (given, he supported the community and the fact that he was making the Jazz Jackrabbit 2 OST with Robert Allen if I remember correctly, at Epic Games).

But yeah, people like me with poor networking and communication skills, and probable ADHD/ADD/OCD, should know they will never take off and deal with it. : P - There's a reason why people with any disability/retardation aren't allowed to run a company -> it just won't work.

P.S. I was sooo bummed, when you said you lost your song files with a system change on fb when I asked, which you made for that wide sound reason tutorial; and another one ~ not to mention what tunes James Bernard laid down in those tutorial videos - back in 2012 - it was a crazy awesome year... well, what nice tunes I heard, anyway. xD

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cognitive
Posts: 177
Joined: 25 Apr 2018
Location: Los Angeles

24 May 2018

I've been with Reason since 1.0, first Rewired to other DAW software, then once Record became part of Reason, I switched over permanently to a mostly Reason-only workflow.

I've used Reason to produce rock, jazz, country, r&b and dance music as well as orchestral and other scoring work for film, tv, video games and web content. Much has been paid work, although some projects have been more personal or sometimes low/no cost favors for friends, done for the joy of creating and one can always use more demo material.

My most recent project has been producing (and writing and arranging) original electronic dance music for an up-and-coming female pop singer. This one has been a lot of fun so far, but a bit on-spec, with the expectation that if nothing came of it, I would at least have some updated material showing off my various skills, plus the appropriate credits should something come of it. Also, she's talented, professional and super-easy to work with (arguably most important) so I have had no complaints.

And even if I did have complaints, it wouldn't really matter now because last week, she started shopping around a couple of the more finished songs, and based on the strength of the tracks, she already has management and label contracts in front of her for review. Not huge labels, but one of them is particularly attractive because it has Sony management and distribution muscle behind it. I am pleased to say that the parties involved not only love her singing, but are also asking as part of the deal that I stay on to produce the first album to completion, with some up-front pay plus all the songwriting, arranging and production credits/points that come with it. Basically they don't feel the need to come in and "fix" anything because they like what they hear already.

So re. the original topic, while I have certainly used Reason to generate income over the years, this latest project has potential to generate some real back-end cash flow, depending on how the material does in the market. Depending on circumstances, it also has the potential to generate additional similar work for me, working with other artists. These are some good steps, and I owe a lot to Reason, its versatility, and how well it fits with the way I like to work. I never seem to dread the "work" part of a project because Reason helps keep things creative and fun for me, no matter what the genre of music.

jimmyklane
Posts: 740
Joined: 16 Apr 2018

24 May 2018

strangers wrote:
02 May 2018
Over the past few months, I've dabbled with mixing/mastering work for artists. I have a day job and mix/master on the side as something I enjoy since I don't currently play in bands like I used to. I'm happy polishing other people's musical adventures. I'd be even happier if it could pay bills but just like NekujaK mentioned it is not a big revenue generator. Even if I were quicker and had more artists lined up to handle daily, the rates that pull clients in would never make me comfortable turning mixing/mastering into anything more than a late night/weekend "hobby".

I did produce beats with a friend of mine years ago. I'd write and he'd handle the production end. Made drastically more money doing that than mixing/mastering. Been wanting to get back into it as a change of pace whenever mixing/mastering jobs are light.
It all depends on your clientele. A backend with a $10000 budget they’ve scraped together....$4000 plus a point goes to me.
DAW: Reason 12

SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine

SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!

www.soundcloud.com/jimmyklane

jimmyklane
Posts: 740
Joined: 16 Apr 2018

24 May 2018

jimmyklane wrote:
24 May 2018
strangers wrote:
02 May 2018
Over the past few months, I've dabbled with mixing/mastering work for artists. I have a day job and mix/master on the side as something I enjoy since I don't currently play in bands like I used to. I'm happy polishing other people's musical adventures. I'd be even happier if it could pay bills but just like NekujaK mentioned it is not a big revenue generator. Even if I were quicker and had more artists lined up to handle daily, the rates that pull clients in would never make me comfortable turning mixing/mastering into anything more than a late night/weekend "hobby".

I did produce beats with a friend of mine years ago. I'd write and he'd handle the production end. Made drastically more money doing that than mixing/mastering. Been wanting to get back into it as a change of pace whenever mixing/mastering jobs are light.
It all depends on your clientele. A band with a $10000 budget they’ve scraped together....$4000 plus a point goes to me.
DAW: Reason 12

SAMPLERS: Akai MPC 2000, E-mu SP1200, E-Mu e5000Ultra, Ensoniq EPS 16+, Akai S950, Maschine

SYNTHS: Mostly classic Polysynths and more modern Monosynths. All are mostly food for my samplers!

www.soundcloud.com/jimmyklane

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esselfortium
Posts: 1456
Joined: 15 Jan 2015
Contact:

28 May 2018

Since this one is finally shareable, here's another song of mine from a soundtrack project I'm involved with.


I sequenced everything in Reason 10, using Orange Tree Evolution Strawberry and Evolution Mandolin, Reason Drum Kits 2, Embertone Leonid Bass, and Soundiron Emotional Piano.
Sarah Mancuso
My music: Future Human

User avatar
aeox
Competition Winner
Posts: 3222
Joined: 23 Feb 2017
Location: Oregon

28 May 2018

esselfortium wrote:
28 May 2018
Since this one is finally shareable, here's another song of mine from a soundtrack project I'm involved with.


I sequenced everything in Reason 10, using Orange Tree Evolution Strawberry and Evolution Mandolin, Reason Drum Kits 2, Embertone Leonid Bass, and Soundiron Emotional Piano.
:thumbs_up:

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