=X Have you confirmed the date of that news, DA? Because as far as I know, Datel never released a Freeloader for the Wii because Nintendo could always release a new firmware that rendered the discs unplayable. There was simply an announcement of a Wii Freeloader on the way, but it never happened, and the announcement came ages ago. The only Freeloader that could've been used on the Wii at some point in time was the GC one, and that only worked for GC games, not Wii titles. And even then, one of the earlier firmware updates rendered the Freeloader disc unuseable several months after the Wii launch. Do you have a source link?
It's just Marth's DAir spike, lol. But yes, it was fun in melee; timing's different in Brawl, but still doable.
That's precisely why he said he was redundant. People are just spouting the same answer over and over again.
I actually like Lucas more than Ness. His aerial moveset as well as his smashes are a whole lot better for my style of play (not to mention his BAir is an uber awesome spike). Going back to his smashes, they might be a little slower than Ness' yoyo smashes (Foward smash excluded), but in all honesty, Ness' yoyo-smashes have never impressed me and have burdened me more than helped. Lucas on the other hand has some really dirty (in a good way) smashes. Despite what I've said about Ike, I still find myself using him. But I have a feeling he's going to become another Roy story for me. That is, the current metagame that Brawl's at, Ike seems to destroy the competition (mostly in free for alls, but I've haven't had too much problem with duels yet), but as the gameplay advances and people hone in on the gameplay mechanics, I think my use of Ike will decrease as I progress with my other mains Marth and Pit. Dedede is probably my favourite from the heavy class. I'm not too technical with him at the moment (I wanna master those ridiculous edge-guarding techniques that I've seen some Dedede users use in some JP matches) but I absolutely adore using him cause he's so hilarious and his Forward Smash (the slowest one I think in the game) is so satisfying to land. In other news, 6 1/2 days left until Brawl (EST). Lol.
Now why would I do that? =\ And SA~~~ check your PMs~ I have teh feedbackz 4 ur art.
Old question. Asked many times. Is anyone surprised at all? There are many many many occasions this happens, especially in Hollywood films. You'll see a scene in a trailer that you won't see when you actually go to see the movie. These are scenes that get removed from the final product for whatever reason(s). Occurrences like this aren't new.
Both of them suck without premium accounts. Megaupload still puts a daily bandwidth limit on you. At least rapidshare tells you WHEN you can start downloading again.
Kind of ironic that it might be considered 'stupid' or 'dumb', but a lot of what you said happens because of the complexity of the human mind. Because we can be incredibly perceptive about the things around us, our thoughts can sometimes lead us to do ridiculous things. We might sometimes be incredibly misled by our own thoughts, and thus do 'stupid' things like you say, but that's simply the irony of it; sometimes we're just too smart for our own good. And that's what makes us dangerous, not necessarily stupid.
That makes sense when you're dealing with a song with several different themes (and possibly motifs as well), and those are the times when conductors may ask for a certain line/melody to shine brighter than others, to bring out that theme/motif forward as the song progresses. This is especially true with polyphonic arrangements (ex. sopranos may carry the main melody at the beginning, then they hand it off to the altos or tenors at a later time). As the melody is 'handed off' to another group of the choir, the part that is emphasized will usually follow whoever is singing the main melody. This emphasis of a single part among many is less used in monophonic arrangements (which is what my recording is) because of how they move together as one cohesive unit. More often with monophonic arrangements, a balance of all parts is preferred, as they're all equally important--with periodic exceptions when adding accents to specific notes to emphasize certain things like dissonance. In this case, because I already did a recording of just the solo, I wanted to do other recordings that emphasized a union of two or more parts--thus why I added harmony. My intention was to equally emphasize each part and how they harmonized together as a single unit. That's why all of them are at about the same volume (or at least, I tried to make all three balanced equally). Treat it as moving chords. And to clarify what I mean by chords--since I think we're once again having a language barrier. C-E-G for example is a chord (major triad). Each note is equally important to make the chord. While they are three separate notes, together they are a single unit (a chord). That's precisely what my intention was with the 2-part and 3-part harmony. At many points where there are held notes, I wanted each part to harmonize at about the same volume to bring together the chord. If I emphasized just the main melody and had the two other parts just linger in the background, it wouldn't be a chord in the true sense of the word. You do bring up a good point, though, and that is particularly important in a lot of songs--some of which I explained above. It just simply wasn't what I was intending when I recorded the song.
Hehe, it was my intention to try to make all three parts equal. Each line is important in forming the chords I wanted to make throughout the piece, that's why I didn't lower the other two tracks. All three parts are of equal importance. :3 And thanks for the Silent Night arrangement, I should've figured it was by Jim Brickman; the style seemed like his. When I have time I'll try to do a recording, but I have a massive midterm and a research assignment due on Monday.
I intentionally sang the lyrics using what I like to call "Disney Diction", that is, longer vowels for example like 'ay' instead of a round classical 'ah'; words are basically sung like they're spoken. I was debating on using latin vowels, but I felt they would come out more lugubrious, so I decided against it. Obviously, for that song, Webber intended the vowels to be more latin-esque, but I decided not to in the end. Phantom in the end is a musical, so I decided to treat it like one and sang it non-classical, i.e. american accent. XD. Just to tease, you said there were places I came in a little late, but you didn't notice? If you didn't notice, how did you know I came in late? ;p And I intended the higher part to be a 1st tenor line (there are times actually when the higher part dips below the melody tonally), not a female line at all. But by all means. And thanks for listening.
Yeah, I'd be considered a tenor now. I was going through a transitional period all throughout my high school years; I think it was only during my senior year that I started singing tenor full time in the choir (with few exceptions). And yeah, there were a few nasal parts I admit. Not quite sure if it was me completely, but a lot of it was since I was running a small cold yesterday. I was blowing my nose before each recording to try to help minimize that. Sorry about that. XD Thanks for listening. Sounds like a good experiment. :3 And yeah, I think you have the understanding of harmony correct. Sorry that I don't know the terms that you seem to know them by in your first language.
I actually experimented with recording multiple tracks this morning, so I do have something I could share. :3 It started off with just me recording a little blurb of Think of Me from Phantom of the Opera. Then--because I have this habit of improvising harmony when I'm singing along to songs--I decided to try overlapping my harmony with the original recording. Eventually I ended up recording a 3 part harmony version of the recording, so here it is. Keep it mind that the harmonies are all improvised on the spot, so at some places my consonants are not unified like they should be, or I end up being a little late because I needed an extra split second to think of a note that'll work, or I just sing a crappy note altogether! It's by no means perfect, but it was a fun experiment and was really enjoyable to record. It was my first time trying something like this, so I apologize for the choppiness in a lot of the syncs and the noise in the background. Each track was unedited and only attempted once. I've tried the attachment method, but even though a single file is 2.85mb, I'm being told I'm exceeding the quota. O.o Don't get it. So I'll stick with mediafire again. Let me know if the links aren't working. Think of Me - Solo Think of Me - 2-part Harmony Think of Me - 3-part Harmony Note: XD I'm aware the lyrics I'm singing are Christine's part, but oh well! EDIT: By the way! I was interested in repeating this experiment with that arrangement of Silent Night you used in your recording. Could you possibly upload that to somewhere like mediafire.com or yousendit.com and PM me the download link? I'd greatly appreciate it!
This is ridiculous.
The one thing I rather liked about this is that despite the obvious timing issues and the lack of support in many areas, there was still a lot of emotion behind the singing, and that in itself is a very good thing. Pitch and tuning, needless to say both can be better, but you have a very warm tone that I'm sure will humble many listeners if you continue working on your technique. Lyrically, I would suggest working on your diction. Try to avoid dipthongs as they can waver your tuning if they're too extensive, and they just simply don't sound all that nice. ;p Keep your vowel sounds as clean as possible, and if words inevitably contain dipthongs (like 'bright' and 'child'), add them very quickly at the end. For example, in Child, try to hold the 'ah' in 'child' as long as you can, then add on the 'ee-uld' very quickly at the end. Another alternative is to just omit it altogether and just hold 'cha' to the very end and just add the 'd' sound at the end. It may sound weird when you say it to yourself, but when you're singing (especially if you have background tracks), there is a lot of room to omit certain sounds without distorting the words you want to say. To the listener, the word will come out just fine and they'll understand what you want to say. Phrasing is the other thing I'd suggest you try to improve on. Unless you haven't developed your lung capacity, try to sing the lyrics with roughly the same amount of breaths you would take if you were speaking them. Reading the lyrics out to yourself can help tell you where you should try to breathe. Ex. "Round yon virgin mother and child" - one breath. "Holy infant so tender and mild" - one breath. I know that the tempo of that particular arrangement of Silent Night was rather slow, so for some, singing those phrases in one breath can be daunting. If you absolutely need to take a breath, try to take a really quick one in between two words instead of in the middle of one. This makes it easier to sustain the phrase while getting that extra boost of breath that you need to continue singing. Overall, I enjoyed listening to it. Your voice humbles me. Thank you for sharing.
Seems the number of people this actually pertains to is very small in comparison to those of us who have no idea what's going on. Now the question I have is why you didn't use the PM system. It's a very awesome tool.
I agree. One of Sony's problems was the PS3 wasn't as developer friendly as the 360 is, so this should definitely at least give some incentive for third parties to show more interest.
Sure you are.
Why would "Birth By Sleep" cover that? The story seems to have very little to do with Sora.
