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I know it’s not my usual style, and this isn’t a photography blog, but it’s been way too long since I’ve just written anything. I need an excuse, and I think this is perfect.

Until the new year, I shall record the events of the month… on film! Digitally!

A list.
A picture every day.
And I encourage you to do it as well, and record (WITH PURPOSE) your last 30 days in this decade… something to remember the last ten years by.

This list is as follows:

Day 01 – A picture of yourself with fifteen facts
Day 02 – A picture of you and the person you have been closest with the longest
Day 03 – A picture of the cast from your favorite show
Day 04 – A picture of your night
Day 05 – A picture of an old memory
Day 06 – A picture of a person you’d love to trade places with for a day
Day 07 – A picture of your most treasured item
Day 08 – A picture that makes you laugh
Day 09 – A picture of the person who has gotten you through the most
Day 10 – A picture of the person you do the most messed up things with
Day 11 – A picture of something you hate
Day 12 – A picture of something you love
Day 13 – A picture of your favorite band or artist
Day 14 – A picture of someone you could never imagine your life without
Day 15 – A picture of something you want to do before you die
Day 16 – A picture of someone who inspires you
Day 17 – A picture of something that has made a huge impact on your life recently
Day 18 – A picture of your biggest insecurity
Day 19 – A picture and a letter
Day 20 – A picture of somewhere you’d love to travel
Day 21 – A picture of something you wish you could forget
Day 22 – A picture of something you wish you were better at
Day 23 – A picture of your favorite book
Day 24 – A picture of something you wish you could change
Day 25 – A picture of your day
Day 26 – A picture of something that means a lot to you
Day 27 – A picture of yourself and a family member
Day 28 – A picture of something you’re afraid of
Day 29 – A picture that can always make you smile
Day 30 – A picture of someone you miss

Sorry for the horrible quality... it's the only camera I have available to me, today.

Today’s is a lot harder than I’d like it to be — not because I’m against revealing things about myself, but because I have a tendency to reveal WAY too much.  So, in that vein, I’ll try to make it things that are not only facts, but things that a lot of people don’t already know.

  1. On a day-to-day basis I tend to flip flop between Christian-leaning-slightly-Agnostic and Slightly-Agnostic-leaning-strongly-Christian.  I think it’s a perfectly normal place for any born again Christian to be, especially one who still has friends that are not, and never will be, Christian.  I never don’t believe in God, but there’s always that lingering feeling of “If this was so important, you’d think it’d be a lot more obvious and more difficult to debate,” which makes me wonder if we’re just making rules to a game we’re all pretty certain we’re playing.  That said, Pascal’s Wager and a life of awesome role models keeps my actions largely in the Christian camp.
  2. I’ve come to realize that lying doesn’t get me anywhere, but Radical Honesty can be abused far easier than little white lies. I’m not going into that.
  3. I make $26,250 a year as the sole provider for my family. Though we’re about $7k above the poverty line, it doesn’t feel like it sometimes.
  4. I made more this year doing music and sound design than every year prior to this — that means there’s hope.
  5. Ten years ago I was 100 lbs lighter.
  6. Except for when I have a beard, or when I take the time to curl it, I hate having a mustache — I just don’t shave it because I end up with bright-red razor burn that lasts for days.
  7. 5.5 years married, and I’m still terrified of commitment, because it used to be par for the course that I’d ruin it. So far so good, though.
  8. I’ve been playing guitar for 12 years, sax for 15, and piano for 21. I’m better at guitar than I am sax, and better at sax than piano. I feel like I should be significantly better at all of them for how long I’ve been playing.
  9. Because I tend to surround myself with spelling and grammar Nazis, I’m incredibly self-conscious about the way I write.
  10. I’m also incredibly self-conscious about my teeth, because I didn’t take care of them in my teen years and I drink a lot of coffee.  They’re not bad, just not good enough.
  11. I’m terrified of flying over the ocean — when I joke that I’d rather take a boat to Europe than fly, it’s not a joke; I’d much rather pay more, and take longer, sailing.
  12. The way I live is pretty conservative, all things considered, but I vote liberally.  The government that governs the best is the one that governs the least, and who are the lawmakers to tell me what I can and can’t do to my own body, or who I can or cannot marry? What does that have to do with this nation’s security at all?
  13. When I was 18, I registered as a conscientious objector. Now, I want to own guns because they seem incredibly fun to shoot.
  14. I’m tech savvy — more so than most people — but I still somehow completely bricked my phone.  Honestly, I don’t know how I did it.
  15. I only watch about 4 hours of TV/movies a week, and play >1 hour of video games.  For a sound designer, I’m pretty sure this is a horrible practice.

Wow, October already?  Sometimes, it blows my mind how fast time moves… having a 9-5 on top of my music and sound design stuff always seems to drain me, and I get far less stuff done than most of my audio peers, but that doesn’t mean I don’t keep trying.

In fact, I’ve been fairly busy: I’ve done two pieces of music for Elevation Studios, and I’ve been session-guitaring for Juliet Richardson’s new project.

Unfortunately, I can’t show you much of Juliet’s stuff, but, trust me, it’s awesome, but I can show you are the two Elevation Studios projects.

First up, K2.

For this, I was asked to not just emulate, but straight-up COVER the iPhone 3G commercial music — a song called You, Me and the Bourgeoisie, by the Submarines.  I ran into a problem with the drums, because midi-based drum fills NEVER feel that good, so I followed the general rule of thumb with covers and added a breakbeat instead.

After that, came ARC.

Elevation Studios has been busier than usual, too, so I was asked to write another piece of original music, within the same vein as the rest of the music I’ve written for ES.  In this project, I ran into something that was both a blessing and a curse — a track limit.  I prefer to mix my music in Sonar LE 8.5, because the interface just feels better for mixing than Sonar Home Studio, but when I transferred my project over, I lost somewhere between 4 and 10 tracks.  At first, I was upset, though I could always just mix in HS, but after I listened to the music, I was a lot happier with the stripped down version than the version that had all the extra bells and whistles (not literally).

This is the track I wrote:

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And this is what Brandon did with it.  I love being able to trust Brandon with my music, knowing that he’s not going to have any obviously bad transitions.

Thanks for listening.

As usual, let me know what you think.

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Wow… it’s been a week and a half since the last time.  Looks like you’re getting two this week.

Why the long break, you ask? (Well, I assume you asked, or will ask)  I’ve been busy.  Not with writing music, but with playing it.

All last week, with the exception of Tuesday and Wednesday (of which I only remember Tuesday… no idea what I did mid-week) I was either practicing for, or actually performing, a Good Friday presentation for K2 the CHurch, which was stellar.

Then I took the weekend to recoup, and last night I returned to my sequencers.  Hopefully I’ll have something to show you by my next blog.

Until then, check out Mike Rut; he’s the worship leader and artistic director for K2, and one hell of a guitar player.  It was truly a pleasure to work with him, both recording and performing.

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This last weekend I had the privilege to participate in the 2010 Global Game Jam, held at our local branch of ITT Tech building.  It was a lot of fun, overall.

This year’s theme was “Deception,” and the area restraints were “Trades, Raids, or Maids.”  Some teams were formed before the opening night, which I feel took away from the overall experience, but those teams still had the experience of cranking out a game in 48 hours.

I was officially part of one team–made up of Tim Tillotson, Mark Schmelzenbach, and Jacob Kinney– at the start, with a self-imposed time limit of being done at Saturday by noon, which worked just fine for me, because I wanted to do audio for as many people as I could. We cranked out as much as we could, and when noon came around we saw that we weren’t close to finishing our project, but we saw an end in sight, so Mark and Tim both agreed they could work ’til 3, which we worked to and had to simply cut our losses; it was close, but it still wasn’t a playable game.  With Tim saying he was going to work on it a bit more that night –which he did– he, Mark, and Jacob all went their separate ways, and I stayed behind to do sound for anyone else who wanted it.

I could give you tons of stories, but I’ll just get onto the games and audio.

First up, is The Ant Thieves, the game that my team put together. You can play it here.

I am really happy with my audio for this game… I took The Ants Go Marching, and blended it with the James Bond and Mission Impossible themes, for an ant-spy feel.  I made two versions, one with a subdued chord progression and one made to feel victorious.  As for sound design, I pitched up a scream sound and made a “stomp” sound with some impacts and a drum, then added some distortion.

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Next up, Treasure Raiders is an XBox 360 game with a rock-paper-scissors mechanic and some campy art.  It should be mentioned that none of the people on their team were artists.   I hung out with these guys almost exclusively after my team left. You can download the Windows version of the game from the link above, or you can wait for it to show up in the XBox Live Arcade (it won’t be free… but all the money is going to charity.)

I had a lot of fun writing the music for this project.  They wanted something like Castle Crashers, giving the game a cheesy epic feel, and I was loving me some French Horns when I wrote the music.  As for sound design, I tried to use musical instruments for as much of it as I could, to keep the campy feel, but had to resort to recorded sounds for the combat.

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Third up is Dust Bunnies. I really don’t know what to tell you about this team.  They were mostly ITT Tech students, with two exceptions.  Every time I went into their room, I never knew what to expect; someone could be sleeping on the floor, or someone could be rapping, and over the Saturday-to-Sunday crunch, they had rap music videos projected on their wall.  It was a blast, and you can play it here.

These boys didn’t know what they wanted… they first asked for elevator music, and then something by Ry Cooder.  By the end of it, they had settled on a Sim City-sounding reggae tune that I had actually cast aside, because I didn’t think they’d want it.  I’m glad they did, though.. I always ove writing reggae.  For sound design, I took two vacuum tracks, layered them, and trimmed them so the start and stop would be shorter, and cleaner.

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Finally, I did sound design for two additional games.

For the first one, Maid of Discontent, built entirely by one man, the sound was almost an afterthought.  He had asked me for two sound effects earlier in the night, but he insisted it wasn’t a big deal, so I focused on everything else.  If he hadn’t had trouble uploading the file, I don’t think I would have even been able to get the two sounds in.  Yeah, that’s right… two sounds.  A coin dropping into a vending machine, and a door closing, both FreeSound sounds that I simply cleaned up and balanced out.

The second sound-design-only game, and final game I worked on, was ConRaid, a fun flash game where you hide crowns from raiding orcs.  I feel I had more making these sound effects than any other project, due to their simplicity and speed.  I simply played guitar, then bitcrushed and downsampled them ’til I was happy.  Because of their melodic roots, they give the game a sense of having a soundtrack, even though there’s not one there.  You can play it here.

Oh, and one more thing:

The games posted in this entry use the following sound files from Freesound (http://www.freesound.org):

Woman Scream AAA, Thijs loud scream, from thanvannispen
Wilhelm from SweetNeo85
Scream Boom 01 from studiorat
Scream from analogchill
banda fort sample from snog
Door Creak Short from Percy Duke
Single Coin Return from tweeterdj

I’ll happily do this again, next year.

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Siphon Spirit

Over the last few weeks, Califer Games has been building a game called Siphon Spirit, a type of casual puzzle game where you control “an aura of purified energy and you need to use that to absorb energy from the demons, purify it, and use it against them.”

I wrote the music and sound effects for it (which I will be uploading here as I get them cleaned up for the final release), and I must say I’m really excited about how it all turned out.

That said, here’s a link to the installer, if you’d like to play the game, yourself.

Siphon Spirit Demo

http://www.davematney.com/wp-content/uploads/2010/01/SiphonSpiritDemo.zip

Tonight’s One Hour Audio was a bit of a disappointment, at least to me. A bad choice of synths to work with, a major key (C Major at that… the cheesiest of all keys), and an attempt at something with a little more structure all lead up to me writing something I’m pretty sure will hit the scrap pile.

As always, let me know what you think.

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ReWire Project

Over the last few weeks, I’ve been battling my computer… specifically, Komplete 5, and Sonar LE.

The issue with Komplete was my own fault; I opened (at least) one of the instruments as a plugin before I opened it as a stand alone version. I don’t remember that being written anywhere obvious in the installation manual or anything, but it’s what happened. And, admittedly, I’ve been fighting with this since the day I got Komplete. That is, until two weekends ago when I started the LLLOOONNNGGG process of uninstalling all NI products, and reinstalling them, opening them, updating them, and opening them again. It’s taken 2 weeks, because I have a life away from this particular computer (though you’d never know it.)

The issue with Sonar is simply this: it’s a demo version, and it’s not made to run in Vista. Yeah, I run Vista. So, it crashes unexpectedly, and without consistency. Luckily, it’s that time of year where both Christmas and my birthday fall, and hopefully I’ll be able to move away from demo products, or at least some of them.

Well, because of the battling, while I’ve been doing all this mucking around to get my computer back to where I can work on Violet Kiss (which I’ll be doing minutes after I hit Publish, get a beer, grab my guitar and stuff from the car, and… well… about 30 minutes to an hour after I hit Publish), I’ve been playing around with Ableton Live (Live Lite, to be honest… another demo product, but with A LOT better support).

I’m still not a Live expert, but I no longer hate the program now that I know 3rd party Live Sets exist. But one thing I can now do is ReWire Sonar and Live together, which opens up a new realm of possibilities — Live Lite is limited to 8 audio tracks, which just isn’t enough for large projects, but it IS enough to bring a smattering of Live-exclusive sounds into a larger, Sonar-hosted, project.

So, this is my first experiment with ReWire.

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All melodic instruments are played in Sonar, while the percussion is in Live. Sonar was the Master, Live the slave, though the only thing that really changed there was which program I used to bounce this down.

The music box sound is from Kore, and so is the reverse delay; The bass is from Massive. There are 3 different drum kits used, Carbonized, Latin Percussion, and a Bright British kick… everything but Carbonized was ran through a delay, and Carbonized has it’s own.

Also… regular listeners to this blog will recognize the melody from the Churches – New York track. I’ve been kicking this melody around for awhile, and I initially intended it for a PARPG song, which is where the music box tracks came together. Now I’ve pretty much kicked this melody around to the point of never being able to use it again (which isn’t a bad thing.)

As always, let me know what you think.

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Last night was the last IGDA SLC meeting of the year, called Final Burn 2009.  It was awesome, to tell you the truth (vazor agrees, and gives a pretty decent run down of the night, here).  Though it was only my second IGDA meet and greet, I felt like people were starting to get to know who I was, and I was really happy that the openness of the event (unlike the last one I was at, where we all sat at a single, long, table) really helped me meet people.  Unfortunately, I didn’t play any of the games that were available, mainly because I was busy interacting with everyone that was there.

My personal friends Alexis and Christopher came, as well, and I thought everyone was really open and receptive to them, considering neither of them have expressed any real interest in being in the video game industries.  (Christopher was even invited to be part of a smaller group of people that tests tabletop games, and I personally hope he takes them up on it.)  Also, Alexis and Jacob were able to meet, face to face, instead of just seeing names in the MonkeyEgg forum.  If only Squink could have made it, too.

The more time I spend getting to know the local game dev community, the more I’m glad that I’m working toward being part of it.

Speaking of being part of it; in January, the Global Game Jam is happening, and there will be an SLC portion of it, which I hope to be able to attend and write music for;  finally, GEEX is coming back to SLC next summer, and will have a Game-in-a-Day competition, which I also hope to be part of.   Guess I need to get on the ball, practicing my speed-writing.

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Monkey Egg

Recently, a friend of mine from the local IGDA and Utah Indie Game Dev groups and I have started a game development “company,” if you will.  Our focus, right now, is to create portfolio pieces for us and everyone involved, which will get us more exposure in the future.

I can’t really tell you much more, because there’s not a whole lot out there, but I’ll get something up eventually.

In other news, financial troubles have shut off my internet at home, which has shown to be a problem on the composing front: Native Instruments’ products, which I rely on fairly heavily, check their registration every time you start them up via their Service Center… basically, without the internet at home, my products only show as unregistered, and aren’t working.  (If any of you know a solution to this, I’d love to know.)

So, my music, at least computer based, has taken a back seat to writing, which only requires a pencil and paper.

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A few videos

I didn’t write this music, dialogue, or anything, but these videos mean a lot to me. Not only are they Brandon Irwin’s work, but they’re about my faith.

I try not to write much about my faith here on this blog, trying to keep it as professional as I can, but the truth is I’m a Christian, and I’m proud of it. :)

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