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Full Version: The Eventful Journey of Making Music Online.
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Inspired from similar threads by Wafels and d-c-s-m. If you have the time, please check out their respective threads as well!

I found out about Online Sequencer in late 2014. I played a game known as LittleBigPlanet 2 back in the day, and the things that made music were called sequencers. Of course, I sucked at using the PS3 controller to compose music, so I wondered if there was something like it on PC.

The first time I visited the site though, I didn't really put any effort to make music. I don't quite remember the details of the time, but I would assume my "sequences" were just some note debris floating in the site somewhere. I still remember the names of some people when I visited, including JHXC, d-c-s-m, and Eric. (Four letter names were easy to remember.)

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Sometime during sixth grade (about a several months later), I wanted to develop one of my cruddy anime visual novels named Ai No Academy. I had an idea of the main menu and character themes in my head, and I wanted to directly compose them without sheet music.



If you listen to them now, they sound equally as cruddy like my character names. Thankfully, I dropped the project long ago to another project I will mention later in this thread.

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A friend(?) at the time once asked me to compose for them (while my skills were still *****ty) and so I did. She never used the pieces in the end, but one of these below actually get used in my first breakthrough sequence. So I still consider this as a building block.



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Without further ado, the story behind everyone's favorite! Since I ditched Ai No Academy, I've started a new project called Gaia's Tessellation. It was an old RPG idea about utopian islands in the sky. There were many other concepts that made the world special, but I'll leave that aside for the sake of the thread.



The Stars of What Was Abandoned envisions the player's party gazing at the islands above them while they are on the Ruined Homeland. It's meant to give a deserted kind of feeling being on the surface of Earth, while still giving a sense of homecoming. I don't know what's with the second portion of the song, but I would assume it might be the battle theme in the area.




Another Day On The Utopia is a song I mentally hum while shopping at Whole Foods Market. Strangely enough I still do it. It fits perfectly visiting the shops in the utopia of Sensdevie.




Ah yes, the Aerodynasty. I actually really like the concept of the song now, but I don't know if I'll ever remaster it soon. In Gaia's Tessellation, your party frequently travels between islands via blimps. The Aerodynasty is the main theme of the hangar area where these blimps take off. It gives a strong sense of pride as you walk in to Sensdevie's miraculous display of transport.


 

Otherwise known as Final Euphoria, the main menu theme of Gaia's Tessellation leaves you in wonder. A melancholic theme of adventure, yet evokes some sort of blizzard-like feeling later in the song. There is also an updated version that I decide I should mention.




Imminent Crisis, believe it or not, is the basis for all of my things regarding fast paced notes. I discovered this formation of piano completely on accident, and I use it as bread and butter today. When the party is under pressure during the events of Gaia's Tessellation (whether some area would collapse or guards are chasing after them), this theme would play.




Nobility's Requiem is the successor of Imminent Crisis (as shown through the same motif in the violin section). It's the main battle theme for Gaia's Tessellation and one of my favorite themes of all time. I used to advertise this theme a lot, but I've gotten rid of that habit. A person said it was like "Jesus riding on a motorcycle" and I still laugh at that.

This was actually inspired by one of Wafels' sequences A Fight For All, and strangely enough, Nobility's Requiem inspired him in return! Wafels mentioned that he had always wanted to remix the theme at some point, which you can take a look at over here. In other words, both of us inspired each other to stay on the site and I'm glad its turned that way.


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Those of you old enough know that Eric was the few pillars of the old OS. Many of you on the site don't remember the age where I collabed with Eric, but I think it's good that you don't. Despite unfortunate circumstances, I think Transparent Notes was another one of my breakthrough songs that greatly affected the way I compose. After the making of the song, I had a better grasp of making my music sound as full as possible. The original sequence for Transparent Notes was one of my drafts that I put in a list where Eric could pick and choose from for our collaboration.

And as for the other sequence, that was one of Eric's drafts he requested me to work on. Last Sanctuary was a mess for me to work on considering on how hard the song was to build off of/how picky Eric was, so I legitimately left the rest of the song to him. If it sounds terrible, don't blame me for it.

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The original, malicious, sequencer-intensive Aeipathy! Back at the time, this was a purely experimental segment from Last Sanctuary that I luckily saved before my computer crashed. Little did I know it would give birth to my most popular sequence of all time Project Aeipathy, colloquially known as Ambition. If you would like to view the project thread for Aeipathy, I suggest going here. It gives a timeline on how the sequence has grown over the year.




Remember is one of my songs that I can consider pure garbage despite it being very possible to clean up. I kinda hate how karma hits me in the back because I do actually remember this song for being this way.



Loneliness Syndrome was... vaguely inspired from Irisu Syndrome. A lot of my songs in the 400k category are inspired from Irisu, so I thought I'd mention for the sake of it.




Freiheit is a minor inspirational song for me, it just taught me how to use notes inbetween the grid. Always makes things sound more interesting. An updated version is also posted.


Efflorescence also made an impact on how I compose, which is now why I can no longer fall back on the era of slow, chord dense sequences. Even if this was my first instance of an abstractly fast-paced sequence, I actually finished it in about 15 minutes. It definitely gave me incentive to compose in my current style today.




-- MORE TO COME, FOR THOSE WHO WANT TO READ NOW ---
after reading this entire thread, all i have to say is....






definitely ripping off transform ending for my eventual rematch with The Stars of What Was Abandoned