A listing of random software, tips, tweaks, hacks, and tutorials I made for Ubuntu

Track: Dawn of a new Era

I made this track a while back, and I hope you’ll enjoy it! =D Linux-wise? Umm … it was made on a linux machine … using wine for like, everything …. but it was on a linux machine!! =p Spent ~60 hours on this.

Estsaver v0.1.2 – First “stable” release, plus a website!

After a bit of work, there is finally a stable release for estsaver!

The changes between 0.1 and 0.1.2:

  • More options for controlling the vignette in the “minimal” screen locker
  • Prevent estsaver from running more than once on the same display. Previously, if estsaver was run more than once, it wouldn’t even accept the password, resulting in a permanent lock. Not good =P
  • Seriously enhance security. There are only 2 files in the entire source code that have permission to access the entered password, and security-critical functions (the ones that require setuid). It’s almost impossible for another file to access it.
  • Add security features in the screensaver, e.g. wait times, “wait more after X bad tries”, and the possibility of listing the failed attempts in the locker
  • Add versioning to plugins (very important if the plugin API ever changes).

Also, there’s now a pretty unorthodox website for estsaver! . Let me know if it looks too weird xD

Anyways, that’s about it! If you don’t know how to download or install, the website has info on that (well, more like, it links info xD)

Estsaver – A fast, flexible, and beautiful screen saver and locker


Estsaver is a new OpenGL-based screen saver and locking framework, designed to be fast, lightweight, and fully extensible. Like most other frameworks, you can customize the screensaver as you wish, and create your own, but unlike most others, you can also create and customize your own screen locker.

Also, unlike some frameworks (e.g. xscreensaver), estsaver is not daemonized. Run estsaver, and the screensaver will pop up. This allows for trivial integration in any system, and greater flexibility for timing the screensaver.


Currently, no binary builds are provided, but compiling from the source is quick and easy.

Download the latest release from, extract, and after cding to the right directory run:

mkdir build && cd build
cmake ..
sudo make install

You will need to have FGTL (libftgl-dev), Freeimage (libfreeimage-dev) to run it, as well as cmake and build-essential to compile it.


Nothing special, just run estsaver :)


Estsaver using the default settings simply has a plain color background as the screensaver, and only the password mask showing in the locker (with motion blur).

The customized settings use an image instead of a plain color, and the locker has gaussian blur, tint, vignette, username text, motion blur, and halo.

Both are only using the “image” screensaver (which also supports plain color), and the “minimal” screen locker, bundled in with the program.


After first starting up estsaver, it will initialize the configuration files in ~/.config/estsaver. Play around with them, and see what you can do!

Feature requests/issues

If at all possible, file an issue here: However, if you don’t have a github account, feel free to comment below.

I’ll read everything, but I might not fix or implement everything suggested (though I will appreciate your bug report/suggestion!) if it doesn’t fit the plans I have for the application. But I am definitely open to considering anything … within reason, of course :P

I’m quitting relinux

I will start this off by saying: I’m very (and honestly) sorry for, well, everything.

To give a bit of history, I started relinux as a side-project for my CosmOS project (cloud-based distribution … which failed), in order to build the ISO’s. The only reasonable alternative at the time was remastersys, and I realized I would have to patch it anyways, so I thought that I might as well make a reusable tool for other distributions to use too.

Then came a rather large amount of friction between me and the author of remastersys, of which I will not go into any detail of. I acted very immaturely then, and wronged him several times. I had defamed him, made quite a few people very angry at him, and even managed to get some of his supporters against him. True, age and maturity had something to do with it (I was 12 at the time), but that still doesn’t excuse my actions at all.

So my first apology is to Tony Brijeski, the author of remastersys, for all the trouble and possible pain I had put him through. I’m truly sorry for all of this.

However, though the dynamics with Tony and remastersys are definitely a large part of why I’m quitting relinux, that is not all. The main reason, actually, is lack of interest. I have rewritten relinux a total of 7 times (including the original fork of remastersys), and I really hate the debugging process (takes 15-20 minutes to create an ISO, so that I can debug it). I have also lost interest in creating linux distributions, so not only am I very tired of working on it, I also don’t really care about what it does.

On this note, my second apologies (and thanks) have to go those who have helped me so much through the process, especially those who have tried to encourage me to finish relinux. Those listed are in no particular order, and if I forgot you, then let me know (and I apologize for that!):

  • Ko Ko Ye
  • Raja Genupula
  • Navdeep Sidhu
  • Members of the TSS Web Dev Club
  • Ali Hallahi
  • Gert van Spijker
  • Aritra Das
  • Diptarka Das
  • Alejandro Fernandez
  • Kendall Weaver

Thank you very much for everything you’ve done!

Lastly, I would like to explain my plans for it, in case anyone wants to continue it (by no means do I want to enforce these, these are just ideas).

My plan for the next release of relinux was to actually make a very generic and scriptable CLI ISO creation tool, and then make relinux as a specific set of “profiles” for that tool (plus an interface). The tool would basically contain a few libraries for the chosen scripting language, for things like storing the filesystem (SquashFS or other), ISO creation, and general utilities for editing files while keeping permissions, mutli-threading/processing, etc… The “profiles” would then copy, edit, and delete files as needed, set up the tool wanted for running the live system (in ubuntu’s case, this’d be casper), setup the installer/bootloader, and such.

I would like to apologize to you all, the people who have used relinux and have waited for a stable version for 3 years, for not doing this. Thank you very much for your support, and I’m very sorry for having constantly pushed releases back and having never made a stable or well working version of relinux. Though I do have some excuses as to why the releases didn’t work, or why I didn’t test them well enough, none of them can cover why I didn’t fix them or work on it more. And for that, I am very sorry.

I know that this is a very large post for something so simple, but I feel that it would not be right if I didn’t apologize to those I have done wrong to, and thanked those who have helped me along the way.

So to summarize, thank you, sorry, and relinux is now dead.

– MiJyn

About the Orchestral Tutorial Series, and other things

Okay, first, I’m very sorry. I promised a person I’d finish it, and I didn’t.

Why? Well, the explanation is rather complicated, but simply put, I had issues with making universal instructions for installing each software, and then life got in the way, and it got forgotten (or rather “Oh, I have to do it sometime… I’m sure that publishing it tomorrow won’t hurt” XD).

But, I was also slightly hesitant, because I had figured out a potentially much better way of making music (no DAW, just JACK routing), but I had issues with that too.

So yeah, I’m really sorry about this. However, I’m also happy I waited, because I have learned much more about orchestral music production since (my new methods are completely different from my old ones).

I am not planning to finish it anytime soon though, because, as I said in the first post of the redux, I am working on my own DAW. But it’s much more (it’s a complete operating system …… that includes a custom-made kernel). I will not post any details about it, but as you can tell, this is a huge project.

I’m not working on it straight away though, because I need some more experience. The first step is to create our own programming language. The language we have planned is theoretically possible to implement, but would be significantly harder to write a compiler for than C or pretty much any other language. So yeah, I do need more experience XD

Anyways, for now, I’m working on a new game engine to gently get myself back into programming (I was working solely on music for a while), and I’m also working on a soundtrack for a friend’s animation (one of the musical ideas is the first one from here, if anyone’s interested: ).

And to finish off this post, I just want to show a little bit of code I’m somewhat proud about (that was originally supposed to go in the game engine, but I have a feeling that this is not a good idea anymore XD). Made this today in about 15 mins :D  (took me a while to debug it…. rather obviously lol)

void rsc_ls_free(char**a){for(long j,i=0;!(((!(j=(long)a[i]))||(realloc((char*)j,0)))&&(!realloc(a,0)));i++);}

How to set up WineASIO

Step 1: Install WineASIO

If you use ubuntu, run this in a terminal:

sudo apt-get install software-properties-common wget
sudo add-apt-repository ppa:kxstudio-debian/kxstudio
sudo apt-get update
sudo apt-get install kxstudio-repos
sudo apt-get update
sudo apt-get install wineasio

If you use arch linux (like real men do):

Add the Arch Audio repository, then run in a terminal:

sudo pacman -Sy wineasio

Step 2: Register WineASIO

If you have a 32-bit WINE prefix, or you have a 64-bit one, and you want to run a 32-bit ASIO application (e.g. a DAW), run this:

regsvr32 wineasio

If you have a 64-bit WINE prefix, and you want to run a 64-bit ASIO application:

wine64 regsvr32 wineasio

If everything went smoothly, you should see a message similar to:

Successfully registered DLL wineasio.dll

However, you may receive:

Failed to load DLL wineasio.dll

In my case, the reason why this message occurred, is that wineasio.dll was installed to the wrong location. I had 2 problems, actually. It was first installed to /usr/lib/wine, not /usr/local/lib/wine (I have a custom-built version of WINE), and second, even if it had been installed to /usr/local/lib/wine, it wouldn’t have worked, because, in my case, WINE loaded 64-bit libraries only from /usr/local/lib64/wine, and 32-bit libraries only from /usr/local/lib/wine. The package had installed the 32-bit version of wineasio to /usr/lib32/wine, and the 64-bit version to /usr/lib/wine.

Try moving the wineasio .so’s to these places:

  • 64-bit wineasio .so: /usr/lib64/wine
  • 32-bit wineasio .so: /usr/lib/wine

Then try again. If you still have problems, leave a comment below, and I’ll try my best to help =)

Step 3: Setup JACK

WineASIO uses JACK as the backend for the audio, so, not surprisingly, JACK has to be setup correctly for WineASIO to function correctly. I wrote an article a while back about how to do this.

Step 4: Profit!

It’s that simple! Now all you have to do is to load up the application you want, and set the ASIO driver to WineASIO =)

Creating an Orchestral track under Ubuntu REDUX – Part 1: Choosing a DAW

So, I originally thought this series was useless, and, well, since I didn’t cover some of the more important sections, it pretty much was =P

But one person asked me to finish it, which was the first time I saw that it was useful, to at least someone, so I decided maybe it’d be a better idea if I make a redux of it, because the first one had many issues (and I’ve learned a lot since then).

One of the issues was that it took LMMS as the base DAW (Digital Audio Workstation), which, as I have learned since, is definitely not the best DAW for orchestral music production (IMHO). Since I have tried a couple of DAWs, I’ll share my thoughts on each one =) Next part will focus on setting them up.

  • LMMS:
    • Pros:
      • It’s somewhat easy to install (you might need to compile it though)
      • Linux-native
      • Very intuitive at first, and good for beginners
    • Cons:
      • Very buggy (minor bugs, but still annoying)
      • I personally hate the automation
      • Multiple MIDI inputs for a VSTi is very hard (I haven’t managed to ever make it work)
      • VSTi’s take a loooong time to load (though this is most likely an issue with having a linux-native DAW using windows VSTi’s)… especially Kontakt, which is probably the most important VSTi you’ll need for orchestral music production
    • Conclusion: Good for beginners, not good for orchestral music production
  • QTractor:
    • Pros:
      • Simple
      • Minimalistic
      • Logical
      • Intuitive
      • Consistent
      • Fast (the program is fast)
    • Cons:
      • More work to install and setup than LMMS (especially with setting up windows VST support)
      • Buggy
      • Crashes a lot
      • Piano Roll is pretty bad (IMO)
      • Not as pretty as most others (though, tbh, that isn’t too important XD)
      • Though the workflow is very consistent and intuitive, the word “fast” would definitely not be the best to describe it
      • I have never been able to successfully load a windows VST on it yet (when I was actually able to _find_ the VST, it crashed while loading it)
    • Conclusion: I like this one a lot, but its cons make it only really useful at a conceptual stage (IMHO, at least)
  • I will skip a lot of other Linux-native DAWs, because I haven’t had enough time with them to give a somewhat decent Pro/Con list to. However, I find that OpenOctaveMidi – though it never worked for me – seems to be (from the features list) the most promising linux DAW so far (sadly, it hasn’t been updated in 2 years).
    • Pros:
      • Free (kinda … the trial never really ends)
      • Well maintained (updates pretty much every week or 2)
      • Works almost flawlessly under linux
      • Very customizable
      • Piano roll has a _really_ useful time-stretching feature (when multiple notes are selected, CTRL+Drag on the edge of any of the selected notes, and it will time stretch it)…. something I really miss with other DAWs
    • Cons:
      • It isn’t actually free… but you can keep on using it as long as you like for free (the trial isn’t enforced)
      • (I’ll have to update this later… I know I’m missing a few, but I haven’t used it for so long that I forget >.<)
      • It might have frozen a lot, that may be why I don’t use it anymore (as I said, I forget)
    • Conclusion: It’s great, but I forget what I didn’t like about it…  TODO: FIX THIS!!
  • Ableton Live:
    • Pros:
      • As its name suggests (“Live”, not “Ableton” =P), it’s great for live performances, due to its really neat session view (basically, you can put a lot of 1 bar patterns in it, then play them at different times)
      • Its macro feature is _really_ useful, as it basically (AFAICS, I’ve never used it, but I’ve seen people use it) an automation that automates multiple other automations. Though its use in orchestral music is not that prominent, it’s very useful in electronic music (and since my style usually has a mix of both electronic and orchestral, I would use this a lot, if I still used Live).
      • Automations are really well made
      • CTRL+Drag. Seriously, it’s probably one of my favourite features from it… so simple, but so powerful (while dragging moves a clip or note, CTRL+Drag will duplicate it and move the duplicate… very useful!!)
      • Close integration with Max, a tool that kind of lets you create your own synths or effects
    • Cons:
      • Midi CC automations are terrible, and sometimes don’t even work! This is the main reason why I don’t use it, as in orchestral music, Midi CC automations are pretty much one of the most important things you’ll use.
      • The display is very buggy under linux
      • The Midi editor needs work (it’s workflow is rather slow)
      • It doesn’t bridge VSTs. So if you’re using the 64-bit version, you can’t use 32-bit VSTs.
      • It crashes a lot
    • Conclusion: Though it’s really great for electronic music, it’s not so great for orchestral music
  • Studio One:
    • Pros:
      • Best DAW for Midi CC automation that I’ve used so far (it works both on clips, and on the timeline!)
      • Automation is pretty good (you can create square, triangle, and sine waves really easy on it)
      • Very intuitive (I picked it up really quickly, compared to nearly all other DAWs I’ve used so far)
      • Its plugin browser is also really neat (you can organize it by vendor, category, folder, or just flat)… best one I’ve seen so far
      • Close integration with Melodyne, an apparently really cool audio editor (I still haven’t figured it out though XD)
    • Cons:
      • The display is very buggy under linux (sometimes the timeline time vertical bar indicator [for lack of a better word] doesn’t even show! Also, the rectangle selection doesn’t show either)
      • It’s buggy all-around (I don’t think this is linux-related)
    • Conclusion: Best DAW I’ve used so far for orchestral music production, but it’s very buggy!

I would have included the setup part in this one, but I realized that it would have probably taken 2 more articles (plus this one), so I decided to just give a quicker article at first, to kick off the new tutorial “series” =)

Oh, and, if I may add… I’m working on my own DAW right now, which is fully modular, so if there is something that isn’t quite right, then it’s easy to change it =) It’s kind of a precursor to SythOS (same concept…. 3D virtual environment, network-enabled, fully modular, timelines, timeline branches, etc…), but it’s much simpler (since it’s only an audio workstation). I’m planning on releasing it sometime by the end of this year =)

In celebration of MLP Season 4 and Dr Who 50th ….

As you probably all know, today is the airing date of My Little Pony Season 4 opener, and the Doctor Who 50th anniversary special!!

So, I thought: Hey, why not create a track for it? Took me 3 weeks =P But I’m really happy with the result ^^ (and yes, I did create this using linux … and since I’m on vacations, I’m using my mother’s laptop, which uses ubuntu! So this isn’t _that_ off-topic, right? =P Okay, okay, yeah, it is very off-topic anyways =P).

Here is the track:

Quick note, I used Studio One (by PreSonus) to create it … it works pretty well under ubuntu! Some minor issues here and there, but nothing that prohibits you from doing any work =) I highly recommend it (over LMMS and Ableton Live, in fact!)

Some updates

I thought it might be fun/interesting/possibly useful/useless/whatever to create a post with updates on different projects I’m working on that are related to (or have been posted on) this blog.

Orchestral Tutorial Series

I haven’t posted anything in this tutorial for a really long time. Why? A couple of reasons. First, I needed a break, second, JACK stopped working (once I fix it, I’ll update the first part =P ), and third (also the main reason), is that there didn’t seem to be a great interest in the tutorial series (very few hits per day, if any). Which makes total sense (I’m definitely NOT the best person in this field at all).

So does anyone want me to finish it (the next part is going to be about how to, well, create a track using LMMS… like LMMS basics, that kind of stuff)? If anyone does, I’d be happy to do so. But if there isn’t really any interest (which I would totally understand XD), I probably won’t finish it.


Relinux 0.4 was a disaster. I think that nearly everyone who used it can agree with that. So, instead of trying to fix all of the issues, and constantly fix the architecture, etc… , I’ll rewrite it! Again! This will be the 7th time I’m rewriting it (yes, I kept count =P)! I’m not kidding.

I’m kind of designing it off-and-on (my main priority is SythOS), but it’s definitely going to be better than 0.4!

Some quick notes: I’m debating on whether it’d be a good idea to call it something else, since I’m not really sure that any product is still to be considered the same product after its 7th rewrite… and because I’m not sure I’ll just want to support linux (I really want to make it work on BSD-based distros!).

I’m also not sure if I’m going to be using C, C++, or SyC (see the SythOS section). If I complete SyC before I start working on relinux, it’ll definitely use SyC, however, I’m not sure if I’m going to wait for that long. I know that if it uses C++, it’ll most probably use Qt.


Since I wrote that post on SythOS, I’ve been constantly improving the concept. I’m not going to reveal too much (I’ve had enough of people stealing my ideas… and code), but it’s basically now a fully 3D environment, and everything is editable (without a separate “mode”… if you edit an object, you’ll edit it in real-time). I’ve already figured out how exactly one could create an audio track inside it, same for video, image editing, texturing, gaming (duh), and also, how using SythOS could be much more efficient than using, erm, “normal” solutions. I’ve also figured out most of the “how” of SythOS (i.e. how it’s going to be built, how everything is going to work, etc…).

SythOS is actually going to use a custom programming language, not because it’s impossible to create it using already existing languages (I was almost going to use C++ for it), but because it’d be much faster and easier to use a different language (that I’m designing right now).

The language (named SyC … SythOS C … okay, it’s not a brilliant name … neither is SythOS, for that matter XD) is, well, based on C, but is designed to be more consistent (I got really fed up by the minor inconsistencies with C, since I have OCD =P), and, if used correctly, faster. What? Faster? How? Well, it has an extremely powerful pre-processor… which is literally the language itself! Okay, let me rephrase: Preprocessor instructions are normal code. So it’s theoretically possible to run an entire software inside the preprocessor (why? good question!). But yeah, it’s extremely useful for optimizing code that could be run at compile-time. Also, because of this, it’s theoretically possible to extend the language itself (or even, write code in a separate language, which will compile to SyC) using the pre-processor!

Since it’s very possible that I might have confused you (I’m terrible at explaining things, if you haven’t already noticed =P), I’ll give a code example of what I mean (I haven’t finished designing SyC, so the syntax you see here may very well be changed once SyC is done):

@int foo = (@int var) { // Built-ins are namespaced using "@"
    @return = var + 10; // Return is no longer a keyword, it's a variable!

// If you use # in a variable name, it's now _forced_ to be used as a pre-processor instruction
@CODE #loop = (@int times, @CODE code) {
    @return = "";
    for (int i = 0; i < times; i++) {
        @return += code + ";"; // NOTE: The "+=" and "+" will probably NOT be used in SyC!
                           // This is just an example for the pre-processor, so please ignore that

@char * #error = "ERROR"; // Think of it kind of like:
                          // #define error "ERROR"
                          // If you wanted #define error ERROR , you'd change @char* to be @CODE

@int main = () {
    @return = 0;
    @int var = 10; // NOTE: This'll probably have to be constant... SyC's design is not complete yet!
    @int var2 = foo(var); // This will compile normally... it'll do a function call
    @int var3 = #foo(var); // This will compile as: @int var3 = 20;
    loop(20, // Notice that it is not invoked as #loop ... this is because loop is already marked as a pre-processor instruction!
        var2 += var3;
    ); // This will compile as:
       // var3++;var2 += var3; var3++;var2 += var3; var3++;var2 += var3; etc...

    if (var3 > var2) { // Let's just say this is an error
        @return = 2;

So, back to SythOS (instead of talking about SyC), I am not going to ask for people to help on this project (in contrast to what I did with CosmOS). Reason why, is that the last couple of times I did that, it turned out to be a complete disaster. So I won’t do that again! However, I’m definitely not closed to help. It’s just that I won’t be “requesting” help, persay (I would appreciate it though =P).

I haven’t done any code-work on SythOS, as I’m still trying to finalize the design (especially of SyC, as I’ll need to make a compiler for that before I can actually start working on SythOS itself)

This blog

To be honest, I’m not exactly sure what to do about this blog. I’m definitely not going to delete it, but since I’m not using ubuntu anymore, very few things I do on here relate to ubuntu anymore. Sure, I make some tutorials which talk about how to do stuff on linux, but nothing specific to ubuntu.

I’m not sure whether I should continue doing these kinds of posts here (which are not totally related to ubuntu), or not… Though I guess it isn’t too important of an issue, I’m just wondering, would people mind if I kept doing these (since it is promoted on planet ubuntu and other various ubuntu-related websites… and I definitely don’t want to lose them!)?

Creating an orchestral track under Ubuntu – Part 4: Designing the track

Part 5: Upcoming

This is by far the hardest/most time consuming part of creating, well, any kind of track (okay, almost any kind…). So without further ado, let’s dive into it! Oh yeah, quick note, I have next to no knowledge whatsoever in music theory, so if I use the wrong terms and such, please forgive me! The advice I’m giving here is mostly from my own observation of “epic” orchestral/soundtracky tracks I’ve listened to, so, well, don’t expect a perfect guide here :P

The first part you should always start with is to figure out the big picture of the track… or, if you want, the “outline”. The most common outlines (that I observed) would be:

  1. ABA – Two sections, A, and B. You should be able to tell where you run the sections from the name XD . This is the one I used in Muffin Factory (though the last A section was very short).
  2. Theme, slowly “crescendoing” to the climax? – Not sure how to call this, but AFAIK, this technique is probably the most used by Clint Mansell (the musician who made the Requiem for a Dream theme). Or rather, Mansell uses it in nearly all of his soundtracks lol. This technique, as you can probably tell, is very powerful when used well (and when you have the appropriate breaks, because if it simply crecendoes without any kind of break, it becomes extremely boring).
  3. AB – Two sections, A being the intro, and B being the actual track itself. This is probably the most standard one used

Okay, let’s assume we have an outline now. So now we have to get a musical seed/theme (though for some, it may be better to do this before figuring out the outline). Since this tutorial is for creating “epic” orchestral tracks (i.e. more like battle scene-type stuff than emotional or classical stuff), I will only focus on a couple. I know that my suggestions are not too helpful, but this is because seeds are the most subjective parts of creating a track. It’s very hard to create guidelines for seeds.

  1. Battle theme. The musical seed should be short, suspenseful, and should NOT be in major. This will repeat a lot, with variations, so make sure that it’s not ultra complex either (in “epic” orchestral music, simplicity is key). Remember that what makes a battle theme “epic” is almost always the percussion element, so the seed is less important than the percussion itself.
  2. Victory battle theme. This is NOT a victory theme, this is a victory battle theme. The difference, put in movie terms, is that a victory theme is AFTER the battle, and a victory battle theme is IN the battle, but the good guys are obviously going  to win (Listen to “I am the Doctor” to see what I mean). Okay, enough talk. Basically, this is usually in the major key (but can be in the minor key if you know what you’re doing), and short (but it doesn’t have to be as short as a pure battle theme). It doesn’t have to be too suspenseful either (for rather obvious reasons). Also, though percussion is still very important here, it’s much less of a key element than in a battle theme, so do spend more time making sure the theme is good.
  3. Theme song. This is my favourite, as you’re really not limited to anything! This can be almost literally whatever you want (FINE, I take that back, you’re NOT allowed to use a happy hardcore melody … geesh). So no guidelines here, just what you think is best for the theme you’re trying to make (e.g. don’t use a major key on a dark theme XD). Actually, I’ll take that back too… there is still one guideline: Don’t make it complex. Adding complexity to it will really degrade the quality of the theme itself, and will stop you from being able to further develop it throughout the track.

Bingo, we now have our musical seed! Or at least, we should have a seed. Now time to figure out the accompaniment! These are the basically the elements you may want to have for the accompaniment:

  • Driver. No idea what’s the correct term for this, but I like to call it a driver, because it drives the track forwards (and, of course, lets you plug in your graphics card as well!). This is usually done in percussion:But it can also be done harmonically (sorry, the sound isn’t too good on this one):
    When done in either (percussive or melodic), it can’t be too interesting or complex, but at the same time, it can’t be too repetitive or boring. Remember, the point is to drive the track forward, and not to direct attention to it (if it’s too interesting/complex, or repetitive/boring, it’ll drive attention to it, and away from the track itself)
  • Basslines. Seriously, this is not only for rock tracks! Use cellos, violas, and basses for this (octaves are very useful when you need to make it “bigger” too).
  • Counter melody. I haven’t really experimented myself in this section, but from what I noticed, it’s very useful for transitions or fillers. I generally shy away from it, due to it sometimes making the melodic part of the track more complicated than necessary (and trust me, you don’t want that in “epic” tracks, it pretty much removes everything that’s “epic” about the track), but it can be useful when used well.
  • Choir. You won’t always want to have this, but if you use it well, it can add a lot to the track. If you don’t use it well (like I did :( ), it’ll make the track sound cheesy. The creation of the choir part is similar to basslines, except that you specify it in chords, not in octaves or single notes (usually).
  • Percussion. Yes, I did talk about this under “Driver”, and it should usually stay there, but sometimes the need for percussion is elevated (e.g. a battle theme), and then percussion becomes as much (if not more) of a key element than the melodic seed itself. So then, it has to try to attract attention to it (as compared to it being a driver, where it tries to attract attention away).

Great! Now that we have all of that sorted out, it’s time to work on the track itself :D

Notice that I didn’t go into any kind of detailed explanation about how you must develop it. That’s for later, for now we just have to “design” the track, not implement it. Put in programming terms, what we’re doing is this: “I’ll make a calculator written in C++, using Qt, and will use standard menubars, and standard buttons for each of the mathematical operators”, NOT this: “I’ll have a file menu, with Save and Quit, an Edit menu containing Cut, Copy, Paste, and Preferences, (insert more talk about menus here), the buttons will be arranged in a grid layout (more talk about layouts), (etc…)”.

P.S. Sorry for posting this so late, I’ve had personal issues lately that kind of made it harder for me to write this.

Part 5: Upcoming

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