It's hard looking for people to scout on Audio ngl
Composer, percussionist, artist, self-backing choir.
For inquiries, composition comms, art comms, or session work, HMU at mail@troisnyx.co.uk
Annette Walker
@Troisnyx
Age 33, she/they
Choir Director
Lancashire, UK
Joined on 6/26/11
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Comments
The sheer volume of audio thefts isn't helping it any, granted. It gets wearisome for the users on the ground (and that's saying this even with us mods regularly purging the flag list and scouring the Unscouted section for stolen content).
Audio theft doesn't just hurt the people whose audio was stolen; it hurts *everybody.*
I'm rootin' for ya, baby!
salt
I feel like we used to know each-other a long time ago, something about both of us fantasizing about our game-ideas
Anyways, glad to see you up and well! Your artworks definitely improved since last time
Thank you kindly! Yes, I remember those days. It is good to see you again.
@Projects-Dev @Troisnyx 2-3 minutes after sending that I started having nostalgia to you showing me the drums on skype xD Oh, this place takes me back. . . I'll see you around on your next posts, Trois!
Aye, see you soon! I've been drum-posting on socials so that bit about me hasn't changed. ^_^
Thanks for the timely reminder to go take a chainsaw to the music thieves on the Audio portal!
All the very best with your efforts!
Hell yeah, us audio folk need some love on NG too. Thanks Troisnyx for saying what needed to be said
Thank you for your kindness. I know that this sort of anger could easily be dismissed as salt — but it's the same anger that catalyses things, helps things to happen. I hope to see, and implement where possible, some more changes.
First off-respect to you and all of the artists of NG-not just the musicians-but everyone in general. This site was made for the purpose of independent creators to make it big, share their talents, and feel a sense of community-which I believe is the most important part and what I love the most about this site being on since about 2009.
I hear a lot of terrible things from the audio portal tbh. (Not the content, but most prevalently drama like the abundance of copyright issues some of my friends have faced-one actually is in a pretty bad predicament after he was banned for "plagiarizing" a beat). Usually I would think with so many beats already put out there-naturally it is difficult to come up with an original one and the staff would be a bit more lenient for those types of things. I do agree that the audio portal doesn't get much love (and so does the art portal due to the plethora of content being released so often)
I do deeply empathize with you about not having many people review your work-especially with all the other content being released in other areas of interest having much higher views. I myself appreciate all types of music as it is what makes so much content-if not almost all content in general much more fleshed out (i.e. a game without music really damages the tone therefore also damages the interest of the consumer in the game-same goes for animation). I hear "X musician struggled, but made it, so all the other struggling ones don't matter." argument a lot too-but in a more generalized sense. It is pretty depressing that music is underappreciated-even in the outside world.
In my experience, making originals has been fairly easy: it's not about sampling or straining to come up with a melody (plus, unless this is challenged by legal precedent, there is actually a tool in existence made by a copyright lawyer, using AI, that generated 68 million(?) permutations of musical melodies, every single melody we could ever come up with ever). To me, it's about the other aspects of music: harmony, rhythm, grabs and syncopation, tonality, *feel*.
The *feel* is what brings a lot of the originality in my mind. To me, it's the thread binding a composer's works together. But even if we were to understand it by instinct, it's not something that can very easily be explained in layman's terms, especially by anyone who would try to nitpick that. That is not only a lot of the difficulty in copyright law cases, but also and especially a lot of the difficulty about music as an art form.
And this feel takes emotional effort, it takes time to mature. It takes some sort of opening oneself up and letting go, which is why music is not given too much of a chance generally.
I can't just sit contently by leaving this excuse be, and perhaps neither can you. A number of people seem to agree. If the world ain't fair, we do what we can to make it fair. That's what a lot of us feel should be done, and feel called to do.
Don't ever feel like you have to explain yourself or apologize for the work you do or the views you have. It's freaking great. And you're right, the audio portal has seen better days.
Twitter fuck wits or whoever is giving you grief can sod off. Most twitter famous musicians are self-obsessed assholes whose attention whoring and vindicative I'm-great-everyone-else-is-an-idiot attitude will land them old, unhappy, alone, and too stupid to realize why.
Love ya,
A
Oh, it's just a certain musician here and their stans (nowt to do with Twitter). If you've been following recent forum history, you'll note that most of the mods stayed out of it bar myself, because I had strong feelings about this and I wasn't gonna be silent when I knew that not only I, but other people besides, had immense frustrations about circumstances like these.
Tom gave them a LOT of time in the sun before their game blew up, more than he gave Hexebyte or others (which I hope is a problem soon rectified), and now they are hugely, hugely successful -- a factor not attributed to hard work, because hard work only truly keeps us ploughing through something.
The programmer of said game tried to justify to me that it was hard work, but you know me: as someone who has worked HARD despite not being allowed to take employment, I don't buy that bullshit. Contrast with Toby Fox, who, when Undertale got hugely famous, was humble and really upfront about him *literally not knowing how Undertale blew up.* There was no justification of it from hard work. He knew that others were working hard.
This is why I don't respect this one musician. Now if their actions were to change, I might perhaps respect them more, my estimation of them would grow. They're not obliged to change, however, and more importantly, I am not obliged to give them ONE IOTA of my respect.
I know exactly what you're talking about. I read most everything after the fact. Personally I don't like that one musician's work too much myself. It's not my preferred genre and it's trite, even if at points technically well made. I'm so sick of seeing that game everywhere. It has reached critical mass and no longer needs much promotion. I see it becoming much like GD, although thankfully at least it's hosted here. I'm not looking forward to millions of remixes and covers.
I have always argued that we, as musicians, should fight to tell our own stories. Ideally not someone else's, unless that someone else's hasn't been told enough, and we treat it sensitively. To that end, we as musicians need to fight for exclusivity when it comes to writing stuff.
I know this isn't always achievable, but imagine setting the feel on the auditory level for an *entire game.* Not a mod, but something original. This is not meant to be limited to the select few who get lucky enough to be known. This is within our grasp. The stories we can tell with our own music and in our own settings are numerous.
It's time we rediscovered that, as a collective.
You know, I personally don't even have a problem with people making the entire OST for a game -- everything goes by the pareto principle. The top ten percent produce 50% of known works. The top one percent, probably half of that. It's been called the 80:20 rule, wherein 20% produce 80% of the results, and even 80% of one's viewership goes to 20% of the works and so on. It's true in almost every domain. It doesn't seem fair, but it's on the level of natural law. What we can do to work with it is find and promote genuine quality, not trite meme music like the FnF OST. One song is okay, but it gets old like you said.
I also am so sick of people thinking original Newgrounds characters are from FnF and not the other way around, FnF borne out of Newgrounds traditions and heroes.
What I don't think is right at all is to sit there and act as if skill is all that's required for success, or that everyone deserves god-king treatment, especially if all they do is have good marketing, good exposure, and a relative rate of consistency. Take someone who doesn't know FnF or the composer in question, and place his music next to any of the greats, accounting for soundgoodizing and loudness, the style is repetitive, not all too wildly varied for its choices in sound palette, which are already a staple in genres such as J-Pop and future bass. The best part of the pieces arguably is rhythm and chord progression overall, the latter of which is easy to rip from midi packs or tutorials.
For a rhythm game, it's well mixed and palatable, especially to the casual gaming audience used to junk and filler music, or I think as you shared, the awful music to that one racing game that might be the worst in the world. On its face as just music, it doesn't really hold my attention, and I don't know how people get into an artist that severely overhyped in my personal opinion.
Just want you to know, your hard work is SEEN and FELT. Not just in music - I know I have been personally paid a visit by you on at least one news/audio post and I can't think of a single aspiring musician on Newgrounds who *hasn't*. You dedicate so much time and energy towards making sure everyone feels welcome to the audio portal, and it is incredibly admirable! You are one of the people who is the bedrock of the NG music community, and your support provides a confidence boost to every person who has been struggling to have his/her music noticed.
That is kind of you to say. <3 Thank you.
Shiverwar
Nyo-ho, I can feel the heat emanating from this post!