http://zackparrish.bandcamp.com/album/pass-me-the-chips

Just stuff I've done over the years compiled into one album, free or pay what you want!

Enjoy! (Or don't...)

Tootles,
Zack

Too busy to mess with it then... same reason why the other thread I created went 'poof'.

C'est la vie. 

https://soundcloud.com/zack-parrish/valdis-story-abyssal-city-37

https://soundcloud.com/zack-parrish/valdis-story-abyssal-city-37

Do your worst... Can't really explain what it's for... but it involves ghosts and stuff I guess...

Hello there! My schedule is ... basically empty right now so if anybody needs music do check out my tracks and get in touch if you like what you hear! I'm open to small projects as well as long term, and I am always willing to negotiate the terms as long as they aren't completely shafting me. Smiley

Thanks for stopping by!

Tootles,
Zack

There's a subforum on indiegamer.com which deals with composers looking for work, but it's pricey, like $15 to $50 per minute of music, which is why I prefer to have composer friends do it.

$15 to $50 per minute is cheap as @#$%.  My God devs are stingy...

Forget moving, just do both.  Neither requires exclusivity of you and broadens your range for distribution.  Loudr is good in the sense they can put you in bundles(although they seem to neglect some soundtracks because hey... some of us don't matter apparently), as well as get you on iTunes(and I believe they are working on a deal with spotify or whatever it is).

Bandcamp and Loudr both have a royalty cut of 15% they take from your revenue, though bandcamp gives you a discounted rate to 10% once you reach a certain tier in sales.  Bandcamp is also instantaneous revenue that goes straight into your paypal account(requirement), and Loudr you must fill out a tax form before they'll send you money, but they do provide different forms of payment so you aren't confined to getting the money sent solely through paypal like you are with bandcamp.

The iTunes bit is nice but you also get double tapped on the royalties because you pay the iTunes royalty first, then loudr takes out their 15% on top of that in the revenue remaining from those sales.

At any rate... being exclusive to one distributor when they aren't requiring it or in any means giving you some sort of bonus for doing so... is just stupid.  Broaden your market and use all you can get your hands on for distribution.

Also, my sales on bandcamp are about... 200x what they are on loudr.  Literally. I've made a few hundred on loudr, and I've made thousands on bandcamp.

I love doing collaborations where I and the other composer(s) work on the same piece of music. Done several with at least one other composer with different "rules" each time, and have also done a few where about 10+ composers chipped in on the music... though those tended to be a little more sporadic.

https://soundcloud.com/zack-parrish/sets/collaborations

That's all the things I could find on soundcloud, Blut Durst wasn't really a collaboration though, but the guy wrote the vocal parts so figured I might as well count it as one. :\

https://soundcloud.com/zack-parrish/a-city-lost-in-time

SNES instruments + modern instruments = track above...

Kind of a... RPG town type thing, just made it as a prototype for a potential gig.

A 7 year old thread was suddenly revived by some random guy posting links to his own music... ?

This is indeed very strange...

I believe this is the link you meant to post...

Just finish this boss music for future update for Valdis Story: Abyssal City...

https://soundcloud.com/zack-parrish/valdis-story-abyssal-city-38

Royalty-free music for media production, business and public performance http://audiojungle.net/user/BigBouncyBright/portfolio

Did you seriously just hijack this guy's thread?  You sir, are an asshole. I mean, granted he didn't read the rules that are in all caps and bold letters at the top of this subforum, but you're still an asshole for doing such a thing.

Wrote these two NES style tracks for "Prize Fighter Pinata", which was made for the 48-hour Bacon Game Jame...

-Title Music-
https://soundcloud.com/zack-parrish/prize-figher-pinata-tortuga

-Level Music-
https://soundcloud.com/zack-parrish/prize-fighter-pinata-el-toro


Download and play the game here:
https://bacongamejam.org/jams/bacongamejam-07/233/

It's happened a couple of times, but I always take payments on a per track basis so if/when they do bail, I still got paid up to the point they decided to disappear.

I wouldn't assume that he just dropped you... because there are a lot of things that could've happened.  Loss of the internet, loss of life, deployment(I've written music for someone that's in the airforce... and they are VERRRRRRRRY delayed in responding), etc...

If he never gets back to you about it... oh well, use the music for stock tracks and sell them to someone.  If he does come back, then woohoo!

Selling the these compositions per song is actually a great Idea. How would I go about doing that? Are there websites I could post them on or something or would I have to actually hunt down some developers?

I use audiojungle for stock music, though I don't have much on there but it does sell if the music is good. It's a bit of a pain in the ass to register as an artist because you have to take some stupid test(that actually requires reading the source material to pass... guessing won't suffice... sadly), and you also have to watermark the track yourself(using the Audio Jungle watermark they provide to you).  Then you have to submit said watermark track and fill out of a bunch of information about the track, as well as the track without the watermarks(and the two tracks must be identical less the watermarks in one of them). Then you wait about...7-10 days for them to approve the track.  Total pain in the ass really, but if it makes money then whatever...

There are other stock sites as well, just make sure if you use more than one that you don't elect to make the tracks exclusive on audiojungle, because that's a violation of the ToS. 

It's happened a couple of times, but I always take payments on a per track basis so if/when they do bail, I still got paid up to the point they decided to disappear.

I wouldn't assume that he just dropped you... because there are a lot of things that could've happened.  Loss of the internet, loss of life, deployment(I've written music for someone that's in the airforce... and they are VERRRRRRRRY delayed in responding), etc...

If he never gets back to you about it... oh well, use the music for stock tracks and sell them to someone.  If he does come back, then woohoo!

There are so many layers overlapping and competing with each other that it's hard to tell what's going on and what I should even be listening to. It's a very disorienting piece. Part of it is that it's in mono so there isn't really any sonic space for different channels to exist in. If you're going to make fake chiptunes, you might as well take full advantage of modern technology. Also, there's a dissonant note in the phrase that happens at ~ :12.

If you're referring to me, then you may have noticed that composing chiptunes isn't my strongest thing but I'd been expressing my interest in making authentic retro style tunes for a 8-bit game project i'm working on and I'm still experimenting for all the characteristics & synthesis of what retro style music is limited to.

As for your term "fake", Well i'm sorry that my tunes doesn't sound accurate for you, but its only based on your definition in terms of techincal chiptunes. It's not that I'm striving consciously to make some "fake" based chiptunes, rather i'm trying to make an accurate representation of a retro style tune, which is usually associated with the style of my upcoming project.

Regardless of all that, I appreciate your input and honesty Chef. I'm always open for new suggestions & techniques as suggested.

One thing I might suggest is backing off on the delay.  Listened to it on laptop speakers so I can't be certain but it sounds like you have delay on all pulse samples.  Also, you are using 3 pulse channels... NES only had support for 2 pulse channels(50%, 25%, and 12.5%), a Triangle(with no option to adjust it's volume) and White Noise, and one PCM channel with enough room for some rather crappy sounding SFX. All of these channels would be monophonic and the only way to do delay/reverb in that time was to echo it in the secondary pulse channel or echo in it's own channel... which would cut anything else in that channel out that was previously playing.

That's not to say you can't ignore the limitations of the day in order to create something a bit more pleasing to the ear... but if you truly want to replicate the sound of those times then you should pay a bit more attention to just how generic they are.  Anything you listen to modern emulation of retro music is usually over the top and generally not possible on the original NES chip.  That's the perks of technology now though.

I would suggest starting with the basics of traditional NES music, two pulse channels for the lead and harmony, and triangle for the bass, and then white noise for your "drums".  Varying the pitch and the duration of notes in the white noise can accomplish a decent drum sound if you work it the right way.  Here's a shitty example of what I mean...

https://soundcloud.com/zack-parrish/cosmos-x3-stage-theme-a?in=zack-parrish/sets/retro

I should write a 15 second entry just because you didn't specify a minimum and only a maximum.

Stuff.

Hi guys.. We found out about the competition a bit too late but we gave it a try anyway, and given that we only found out thanks to you i thought sharing it would have been nice enough ..

We made this song for the bleeding fingers contest, hope you enjoy it.

Thanks again   

https://soundcloud.com/askewpoint/petunias-bleeding-fingers

Of course not, they extended the deadline to the 24th. :p