Dec 132013

Hey, this is Chaos. I had a post this week, but it apparently got deleted at some point between two weeks ago and last Wednsday. That along with moving and finals has put me in a rather bad mood, so I figured I’d share my feelings using a song by a steampunk-esq band that I learned about at the last Steampunk Symposium. Hope you enjoy.

Jun 232013

Kendandra’s going through a rough patch, so his column is now on indefinite haitus. We’ll let you know if and when things look up for him.



the management

May 272013

Kendandra here!

A while ago I provided a demo of what direction I was taking Bob’s theme.  When I recorded that demo I was naïve about a couple things.  First of all I had no idea how to record audio; now I do.  Second of all when Kaelas (Robert Owens himself) listened to the theme and simply shook his head.

“It’s not Owens,” he said.

And I thought to myself, “How dare him!”  How dare he offer criticism to his own character’s theme?  Now to be fair I knew a good two thirds of the theme were subpar.  But that last third was the part I stole from Ricky’s theme, and I loved that part.  Seriously, how did he not see sacrifice I was willing to make by giving my own character’s theme his character’s instruments and….

Suddenly I realized what I was doing wrong.

Of course the theme didn’t fit Owens, it was originally gallant and upbeat, dashing and daring, bold and heroic.  That’s not Bob at all.  He’s down to earth, gritty, and a bit ill-tempered.  Just because the guitar fits the cowboy theme doesn’t mean I can put any melody to it.  So I got to thinking:  How was I going to come up with something that would fit Owens?  Well first of all, there was a piece of improvisation I did during the first demo that Kaelas did like.  So more like that, I guess.

At Steampunk Symposium it was joked that Kaelas should carry around a guitar to complete his cowboy look.  This would have been cool, except Yami’s guitar is BRIGHT RED.  Though I guess it would match the bandana.  Anyway, if Kaelas did carry around a guitar that would mean that Owens would be able to play one right?  That got me thinking about how to go about hashing out his theme:

What would it sound like if Owens was playing his own theme around a campfire?

I can’t imagine that Owens got any formal training on how to play the guitar.  Not to mention that’s half the reason the guitar exists, it was a cheap instrument designed to be easy to learn and play.  So how does an amateur that’s held the instrument for years, but put no effort into it sound?

Now many of you may or may not know, but Radiant Vanguard meets usually about once a week to talk, game, and marathon movies or shows.  This last week’s meeting I arrived at my usual time.  Late.  Kaelas was busy playing (read, abusing the sneak skill) in Skyrim and while we were all talking and watching Kaelas be thrown about the place by some Nordic zombie with the power of the force, I picked up Yami’s guitar and began trying to hammer out the Skyrim theme song while we chatted.

Now I don’t play the guitar, and in this context I don’t mean like when I say “I don’t play the piano.”  Because that’s just me being modest.  I actually don’t play guitar.  Which meant, first of all, I attempted to try and treat the thing like a keyboard, substituting the keys for the frets and generally failing to get anything that sounded remotely good out of it.  Secondly I couldn’t hit the notes in tune.  (One of the two reasons I dropped the viola, pianos are just magically in tune.)  Anyway, all that sliding around and frantically trying to hit the note gave me a good feel for how to do a rough demo.

So, have a listen.  Try to see if you can visualize Owens kicked back against a dead tree.  His hat askew over his eyes.  He twists the tuning pegs slightly after hearing a sour note.  The firelight flickers illuminating his jaw as he taps his thumb against the side of the guitar in rhythm with his melody-less song.

That’s it for today, buckaroos.  Next time I might have something more concrete for drum practice, really.  Unless I get distracted again.

–Kendandra, we’re done here.

May 182013

Kendandra here!

So I’ve not made it a secret that Ricky’s theme is going to have a military march vibe to it.  I’ve kept everything else about it a secret, even to myself.  It’s a secret to everybody.  But the drum beat is public knowledge.  Now I’ve mentioned many times before I’m really new at this whole music composing gig.  And by new I mean I have no idea what I’m doing.  That’s alright though, everyone’s got to start somewhere.  I mean, where would Dorothy be without her Kansas?  Actually that’s a dumb analogy, she’s be in Oz.  Duh.

But the bottom line?  Basically drums are hard.

Well, not really.  FL Studio has a nifty little beat sequencer and several great samples to choose from.  It really should be a piece of… some sort of baked confection.  However, what I ultimately want to do, a military snare march, is not something the beat sequencer is particularly good at.

That said, I don’t play the drums.  I’ve always thought that would be an instrument I’d have a lot of fun with, but drums are expensive!  Now normally, not playing the instrument wouldn’t be a big issue, but the strictly percussion instruments are pretty different from most other instrument families.  So I decided to do the sensible thing and practice with drum synths in FL Studio.

First I laid down a jazzy piano track, something I improvised in one take at three in the morning from a song I’m in the process of learning.  Then I attempted to add a simple high hat rhythm.  Nothing too fancy:  A standard kick drum on the down beat, a light crash on the first and third beats, and a couple closed hat hits to fill in the gaps.  This is when I realized something.  I’ve been away from formalized music far too long.  I can’t keep time anymore, apparently.  I had a hard time trying to sync up the high hat track with the piano track because I didn’t keep my measures in time.

I futzed around with it for a while; altering the time-span of the drum track and lining up the kick drum with the supposed down beat on the piano track.  But it was tedious and when I listened to the whole thing it sounded like the drummer was constantly missing his mark.  You can even hear that at around the 53rd measure, I just gave up.  Oh well, I’m at least fairly happy with the piano track.  It’s not useful for any of the character themes though.

This entire issue could be resolved by coming up with a basic drum track first and then playing the rest of the song.  Or perhaps there’s some mystical device that is able to keep time via some form of sound wave.  Like a metronome!  (Though I’m not sure I trust them.  I mean you start the thing and sometimes you get Hyperbeam other times… splash).

So I basically fail at getting FL Studio to make percussion tracks.  But you know what they say: if at first you don’t succeed….

That’s all for now, people capable of reading.  Next time I might have something more concrete for drum practice.  Though probably not.

–Kendandra, we’re done here.

May 102013

Kendandra here!

In his previous incarnations, Lucas was Evil.  That’s capital E-evil.  The kind that makes Mermaid Man wince.  How evil was he?  I’m not sure.  I wasn’t a part of Radiant Vanguard back then.  But I’m sure the level of evil was somewhere between the hammy Evil Emperor Zerg and omnicidal maniac Davros.  It is probably safe to say he’s no sweet little old lady.  Probably.  Like I said, I wasn’t there so anything I’ve got to go on is mere hearsay.  But for the record, I’m picturing Chaos as a sweet little old lady.  You can too at home if you want.  I won’t judge.

But the bottom line is Lucas’s theme should be sinister.

Ah villain themes, they are the best aren’t they?  I half want to write condescending lyrics about how Lucas is richer and better dressed any everyone else.  But then Chaos would have to sing it and if I got him to sing the world might end.  Or at least my world, he seems to hate singing.  Why?  I have no idea.  I don’t know if some kind of energy parasite attacked his vocal cords, traumatizing him for life, but the fact of the matter is he won’t sing.  But the real question is what makes a theme sound evil?  In my mind it’s pretty much a combination of two very important aspects of a song:  the key signature and selection of instruments.

So can anyone following along at home guess what type of key signature makes for the best villain songs?  Did you guess something in a minor key?  Well, damn, how did you know?  No seriously, I wonder what started the cultural phenomenon that made minor keys sound sullen or evil.  (And yes, for the record, it’s mostly the Western rooted music that applies such gravity and sensibility to the minor chords).

Now as for instrument selection, only one thing came to mind.  Lucas is wealthy, in power, and a bit shady.  To me, that screams “harpsichord”.  I’ve heard very few harpsichord pieces in the minor key that didn’t grab me by the collar, tilt my head to side and yell in my ear “rich evil bastard”.  That’s where Lucas’s theme’s main inspiration comes from:  I give you the bastard-est of rich evil bastards with harpsichord themes, Oliver.

Finally, you’ll notice in the demo that I’ve got this piece set in ¾ time.  A waltz is just another way to convey Lucas’s affluence.  After all, when you rub elbows with rich people in the Victorian era, you’re going to be doing at some kind of ball, waltzing away.

Anyway, here’s a rough demo.  All subject to change of course, and right now it’s far to short.

That’s a wrap for today, cupcakes.  Next time I think we’ll gab a bit about how bad I am at getting Fruityloops to sound like marching snare.  Speaking of the word “gab”, that’s what we call a dialog.  Dialogs are held between two people, hence the “di” part.  In other words, read and comment, even if it’s just to say you hate my guts.  Try it!  I’ve been told my guts are rather hate-able.

–Kendandra, we’re done here.

Apr 122013

Kendandra here!

Okay.  First off, I’m not late.  It’s still Character Theme Thursday.  Though now that I’m actually working again, we’ll have to see how often I can keep these updates up.  If I can’t, feel free to make Character Theme Thursday into Taco Thursday.  If you don’t like tacos think of another T word.  I suppose sometimes people abbreviate Thursday with an R, so it could be Radical ThuRsday.  Or something.

Ahem, anyway.

Oh good ol’ Robert Owen.  What is there to say about Bob?  Not much, considering Yami beat me to the punch.  So thanks, Yami.  Basically Robert’s the muscle of the group.  He’s rude, crude, and full of attitude.  Let’s go down the list shall we?

Ridiculously skilled?  Check.  Gruff?  Check.  Questionable morals?  Check.  Tough as nails?  Double check.  Tormented past?  Check.  Funny Hat?  Check.

Yeah.  Not many other people fit that list.  Batman is one of them.  Jayne from Firefly is another.  So Robert is a gun-toting Batman.  Or Jayne from Firefly.  Oh, or Jayne is Batman.  Oh.  Yeah.  That’s head-cannon now.

Ahem, anyway.

When I started doing these themes, for the most part I had little in my head (like always) except for a few instrument collections.  Bob’s was acoustic guitars and no drums.  I want to avoid having any “true drums” in there (there will probably be a few percussion tracks, like a woodblock.  You know, something sporty.).  With that in mind I set out to lay down a rough melody and harmony.  So here’s a demo.

Now normally I record a MIDI track and then spruce it up a bit before releasing it to you, single reader of this blog.  However this theme’s main attraction is the guitars and I’ve yet to find a satisfying guitar sample in Fruityloops.  Which, quite frankly, is odd.  I was, however, marginally happy with the guitar sounds Privia makes.

[Oh yeah, I got a new keyboard to celebrate my return to the working world, that’s important, I should have mentioned that first.  Perhaps I’ll cover Privia (keyboard) and Samick (piano) in a different post sometime.  And yes.  Those are their first names.]

Ahem, anyway.

So I set out on the arduous task of trying to capture audio from Privia to my computer.  So obviously my first thought was that I could just place a mic against Privia’s speakers.  Then I noticed Privia has speakers.  Plural.  And it balances the stereoscopic sound between the high and low ends of the instrument.  Which is amazing.  If I wasn’t recording sound.  Clearly that wasn’t going to work.  So I got clever.

I took a quick stroll out to my car and grabbed a male-male headphone cable (that I use to pipe my phone audio to my car stereo).  I hooked it up to the back of Privia and straight into the mic jack on my computer.  I had to spend like… forever balancing the levels between the two to get a decent sound.  Then I realized something.  With the audio going to my computer, I couldn’t hear what I was playing.  So I had to Beethoven it.  The final recording has a lot of noise that I couldn’t remove because Fruityloops’s built-in recorder is… gah.  For a music composing software it… just… GHAH….  You would think that… bah! <Incomprehensible garble of frustrated noises>

The original theme I had it my head was much faster than what I recorded for the demo, but it works well enough.  The more I listen to it the more I only like the third part of the song (which is the chunk stolen from Ricky, if you’re wondering).  Before I scrap the other parts though I’m going to see what I can get out of some refinements:  cleaning up note placement and duration, and fixing the velocity of the strumming part.  It should have a more punctuated beat, something Privia couldn’t convey well enough.  Though to be fair, Six-Trak couldn’t convey it at all.

Ahem, anyway.

That’s all for today lads and lasses.  Next time, I’ll have a small excerpt of Lucas’s theme.

–Kendandra, we’re done here.

Apr 042013

Kendandra here!

Let’s talk about melodies today.

If percussion is the heartbeat of a song, then the melody is the brains.  A smart melody is a smart song.  One of the ways I want to keep the themes coherent is to keep them around the same chordal area.  I’m not sure if “chordal area” is actually a term, but it should be.  Specifically, I’m trying to stick most of the songs to the same eight chords.  That’s four better than most pop stars!  Or at least it would be if I didn’t mostly break them up into three cord triads and just cycle through those triads.  All eight of these cords are very close to D, which I sort of use as a base note for these themes.  Each melody riff usually starts as D and then at some point finds its way back to D.  From that mentality, which is probably the limit of my musical talent, I’m able to form several distinct melodies.

I digress.  Today we’re going to talk specifically about Richard’s theme.

Influences for this theme’s melody come mostly from two sources.  The first is Captain Jack’s theme.  I know what you’re thinking.  No.  Not the slightly bisexual Johnny Depp Jack.  No, the theme I’m referring to is the FULLY bisexual John Barrowman Jack.  (WARNING: DOES not CONTAIN PONY).  Just listen to that string part.  Speaking of kickass string parts that leads to the main influence for Richard’s theme, “TEC THEME”.  This is from the soundtrack to a very addicting RTS called Sins of a Solar Empire.  Have a listen.  This song is pretty much what I would use as a character theme for Richard if I wasn’t making one myself.  But I am.  So jokes on them.  I’m not going to let them convince me into co-opting their theme without their permission.  I’m too smart for them.  I’m going to make my own theme.  A better theme.  With blackjack and hookers.  Actually forget the hookers.

Wait.  What?

Anyway let’s move on to Richard’s melody.  Now I’ll be perfectly honest.  When I started out doing this I had a pretty good idea for what to do for Richard’s melody.  Whenever I’d walk by my Samick I’d stop and play a few bars of what it was going to be.  Then I played a bit of that melody on accident with a guitar sound font and now it’s the sole property of Bob’s theme.  (You’re welcome Kaelas, you just won the best melody because it sounds better on guitar than strings and horns.)  So now, since I’m such a generous guy, I’ve got to come up with a band new melody out of nowhere.

Let’s cover how I’m going to do that.  Well first I had a listen to the two influences I chose for this theme to establish a baseline.  Then I apparently forgot all that just played random notes.  I kid.  Not really.  I did just play random notes.


See that little sliver of red up there?  That’s the salvageable part of all that.

See that little sliver of red up there? That’s the salvageable part of all that.

Basically I just hooked up my keyboard to my computer and recorded a few minutes of me trying out different melodies and harmonies trying to find a decent lick.  Have a listen to the raw recording if you’re curious. [Note: if you have trouble listening in the browser, right-click and click your browser’s variant of “save as” — Yami]

Out of all that I found a three second riff that I liked.  You can even tell I liked the sound of it once I played it because it keeps popping back up as I continue to mess around.  The nice part about that little riff is that it’s very recognizable and powerful.  Literally.  It’s made up of ascending power cords.  It also sounds very similar to Jack’s theme.  Which is why I suspect it snuck its way in there.

Now normally I like to take a more… shall we say… sophisticated approach to writing music.  But other times you just gotta bang on the ivories.

That’s all for today, kiddies.  Next time, assuming I can find proper guitar sound fonts, we’ll chat a bit Bob’s theme.

–Kendandra, we’re done here.

Mar 282013

Kendandra here!

Let’s talk a bit about percussion.

Percussion is the lifeblood of any musical piece.  One of the ways I want to make each of these character themes unique is to make sure they have vastly different percussion sections.  For Lucas’s theme, that’s as simple as making it a waltz.  The ¾ time signature gives it a much different feel than the rest of the themes regardless of what instruments I use.  For Richard’s theme I’m using a snare-heavy marching beat.  This fits his military nature and, again, keeps his theme unique in feel.  I’m a bit antsy to do Bob’s theme; it doesn’t use drums at all and instead relies of the percussive nature of a rhythm guitar, which I think will be quite a challenge and a reward.  As is the purpose of these blogs, I will explain why I’ve chosen each style for each character in turn.


But today we’re going to talk specifically about Erika’s theme.


Erika Stark is the engineer of the group.  A position that could arguably be called the most steampunk of the whole quad.  When she’s at her best, she’s right in the thick of all that hissing, clanking, and metal squealing.  So it should only be fitting that the underlying percussive track of her theme should be the sounds of a steam-powered machine whirling and sputtering away.  I know Yami will hate me mentioning this (and that’s half the reason I am [remember, Sarcastic Jackass]) but it’s very much the same idea as the Flimflam Brothers’ cider machine huffing and puffing in the background of their song.  (Check it out if you are curious.  WARNING:  CONTAINS PONY.)

I now imagine either I have lost all my readers or gained an unfathomable amount by uttering that four letter word.  Let’s not dwell on it.

Anyway.  I started exploring Fruityloops’s options for percussion.  And let me tell you.  Illidan was right.  I WAS NOT PREPARED.


Button, button, who's got the button?

Anyone ever watch Dexter’s Lab in the 90’s? I felt a bit like DeeDee “Ohhh what does this button do?”

The sad part is, this is like just one of the many drum mixers that are built in to this thing.  And get this, there are more complex ones with even more options.  I mean, damn.  I actually used one of the simpler ones; one that’s actually just that orange section in the middle.  Still though when I was messing around with the presets a found a list of “Industrial mixes” that contained sounds of anvils clashing and clocks ticking.  And that meant one thing.  Jackpot.  What I was envisioning for Erika’s theme was not only possible but probably ready to implement without downloading additional soundfonts or configurations.  Something I’m very happy about.

So now down to hard part.  I had an idea of what I wanted the percussion section to sound like, now it was time to actually create it.

First I wanted to find the sound of steam hissing.  That’s going to be a cymbal crash of some kind, but the question is, how to make it?  Fortunately there were several presets in the Drumpad.  I listened to dozens of sounds trying to find Erika’s steam piston.  Including one called “Epic Crash 01” which sadly was not as epic as I had hoped.  I finally settled on “Trash Crash 01” out of the sample sounds.  It had a long decay on it, giving it a very piston-y feel, but sadly not quite what I wanted.  I upped the Mallet Decay and Mallet Amplitude to give it a nice hiss before I was satisfied.  This hiss plays every measure on the down beat.  Next I added a muted popping sound that when put together with the Steam Hiss gives a beat that sounds a lot like an old steam train.  Exactly what I wanted.

Now that I had an actual beat, I decided to layer some more engine-like parts on there.  To, you know, really dive the point home that I wanted a machine sound.  I ended up with something like this:

Bum-tsh! Bum-tsh!

Look at all the drums I give!  Ignore the Cello and Guitar Pluck, those are part of the proto-melody in a different sequence part.

Simplistic, but I think it works well.

Finally I messed with the panning of a few of the channels.  (You can see it on the picture if you squint hard enough).  Now steam hisses in each ear in an alternating pattern.  It was at this point I made an amazing discovery.  Scientists will write papers about it for centuries I’m sure:  my head phones were on backwards.  I think the panning changes really add an extra dimension to the beat.

You can hear the final machine beat here: ErikaEngineBeat

Now I’m certain I won’t use the same beat for the entire song… unless I get lazy.  Yeah.  I’m probably going to use the same beat for the entire song.  But still, it’s surprisingly catchy when you listen to it eight million times on loop.

That’s all for now, kiddos.  Next time I’m going to cover the melody for Richard’s theme and delve a bit into each theme’s core sound.  Right now, I need to figure out what this hissing noise is in my ear….

–Kendandra, we’re done here.

Mar 212013

Kendandra here!

So before I delve into the process of each individual theme, I want to take a moment to show you my little studio set up.  But first a little something I have get out of the way.


DISCLAIMER:  I am not a profession musician or composer.  By any definition of the terms.  I’m just a cool-kat with an 80’s keyboard and a USB port.


So yes, you should fully expect the end result of all these character themes to be complete and utter crap.  Still, that doesn’t mean they aren’t fun to make.


My musical background consists of far too many years of piano for my skill level, a bit of viola, and pretending to play the harmonica.  I have many pretend fans for my pretend harmonica concerts.  Oh, and a small amount of music theory.  Just enough to be dangerous, actually.

Now, on to the “studio”.  Located in the bowels of my house.  Enter at your own peril, past the bolted door where impossible things may happen that the world has never seen before….  No.  No, sorry that’s Dexter’s Lab.  My mistake.  Anyway, my quote on quote studio consists of a small nook where a pile of junk is located including a somewhat broken flatscreen monitor, a collection of non-working keyboards, a rather nice pair of Philips headphones, and a Sequential Circuits Six-Trak I dug out of my dad’s storage closet.  That’s
right, this thing:

Six-Trak  Sadly not Star-Trek.

That’s real wood on the side there. None of that fake stuff you see on those new Yamaha digital pianos that pretend to be classy with “wood finishes”. Also note that it’s spelt T-R-A-K. C’s are for failures. Stay in shool, kids.

For those who aren’t familiar with this vintage little beauty let me tell you, it’s a pain to actually do anything with.  It has only six oscillators.  Which means two things:

  1. Six means that it has six note polyphony; a fancy way of saying it can only play six notes at once.
  2. Oscillators, which means that it generates the waveform on the fly based off of 35 different parameters.  (You can see in the picture a bunch of writing in the center? That’s where the parameters you can play with are listed).

Not to say that this wasn’t an amazing piece of equipment for beginner mixers at the time.  Because, hell yeah it was.  Though now that we’re no longer in my father’s generation, I can simulate any notes that those little circuit boards are going to generate with software.  So I mostly use the Six-Track for something much more devious.  The MIDI port on the back.

Back in the old days my father used to hook up a MIDI cable to the Six-Trak and run it though a MIDI sequencer.  That’s a funny little box with lots of MIDI ports and buttons.  I’ve cut that out of my current setup.  Fruityloops takes care of much of this now (more on that in a bit).  So I got myself a MIDI IN/OUT to USB cable and I’ve got it hooked up to my laptop.  The purpose of the Six-Trak is to be used for pitch input (it doesn’t have velocity detection, you silly filly, that’s years ahead of its time).  I’m going to use it to input rifts into my computer and then layer the voices on there.  You see I’m a piano player a heart.  I’m not very good, but that’s my thang.  Thing.  Wow that was terrible.  Sorry.  I promise not to do that again.

So that’s my studio.  A table to support that ol’ Six-Trak, a MIDI cable, headphones, and my laptop (supported by a barstool).  Oh and the most important part.  There’s a large jar of pretzel rods.  That’s rather important.  I should have mentioned that first.

(There’s also a rather decent, if small, mixing board, but its output is FireWire and I’m not using a Mac.)

That pretty much covers the “physical studio”.  However the meat of this project is going to be powered by what’s on my laptop.  And no, by that I don’t mean my hard drive full of video game OSTs.  I’m talking the mixing software I’ve chosen to use.  Fruityloops.

Fruityloops.  Contains 5% fruit.

Just take a look at those skeuomorphic controls on the lower right. Thing of beauty.

So why Fruityloops?  Because it’s what I had access to.  I’ve never really used it before so we should see pretty soon how its learning curve is.  At a glance this thing is pretty powerful.  There are so many modules that I have no idea what I’m doing.  Also the first thing I notice is that Fruityloops is probably designed to make techno music.  It just seems to have support for a lot of repeatable beats and wave manipulation.

So of course, I’m probably going to be making use of the dumb parts of it.  Like DirectWave and using instrument samplings.  Indeed, the first thing I went and did was download the Sonatina Symphonic Orchestra instrument samplings.  But we’ll see.

That’s all for today, kiddos.  Next time I’ll actually be talking about first steps in making the character themes.  Shocker.

–Kendandra, we’re done here.

Mar 142013

Hey there!

Kendandra here.  Well I call myself Kendandra, anyway.  Not sure why.  I am known as Flutterguy to some.  Sarcastic Jackass to most.  Though I prefer Kendandra.  Sarcastic Jackass has too many syllables.


So this is it.  The moment for which none you have been waiting.  This is my first blog post.  I think it is a bit cliché to be blogging about first posts.  It has a nasty taste to it, like a YouTube comment.  Nevertheless, here I am blogging about blogging.  Now I suppose I should to take some time to introduce myself, but I hate talking about myself.  Which is very strange for a narcissist.  How about we skip that part and you can just imagine me as awesome.  I gave you a name, you can just feel free to attach that to whoever your ideal person is.  I suggest picking from Adonis, Achilles from the ankles up, or David Tennet.

First thing you should know about me.  I ramble.  I am sure you have noticed.  That is probably not going to change; I suggest you adapt now.

Down to the meat of the task at hand (and I make no apologies to vegetarians for the line), I have been asked to write a piece, on what is looking like a weekly basis, that relates to our little quad of intrepid adventures.  Sorry, “entrepreneur” in the case of Chaos’s character I suppose.

So by now you may be wondering …

Why am I still reading this?

Well, yes.  You probably are wondering that, but that is not the point.  So by now you may be wondering what exactly my upcoming posts will contain.  The answer is, in a word, music.


I am setting out on the arduous road of composing a total of five themes for our little group.  One for each character, plus one for the group as a whole.  The task is to make each character theme unique, yet still feel like the belong together.  I will provide weekly updates into the creative process, detailing how each theme matches the character and my decisions as to each theme’s composition.  And worry not, I have absolutely no idea what I am doing.


The final thing you should know is that I apparently dislike contractions.  I just surveyed this post up to this point and there is nary a apostrophe to be found save for a lonely possessive.  That is interesting to note, though it provides no substance to my post.  Another thing you will have to get used to I suppose.


Anyway, look forward to my next post, which will be the first in the Character Themes series.  I will detail my “studio” setup and outline better how each theme will look.


We will meet again soon.

–Kendandra, we’re done here.