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In the event that you are NOT trolling, I do have something to say. Being a psychology major as well as a magician, I know a fair share about the effects of influence through subliminal messages, NLP, and hypnotism. Enough to tell you that this wont work. You can influence the decisions that people make to an extent, but you can not take away free will, especially for an extended period of time as this experiment seems to require. Second, your view of women is extremely chauvinistic. You have clearly expressed your view of women as inferior to yourself and your music, which I can not disagree with you more on. I really can't think of how else to express my discontent, but others have already done enough.

Someone hacked his account.

Don't listen to all the haters, Mercurious209 . I love your idea and I'm with you 100%. Let me know if there's anything I can do to help! :)

I really like this Alpha -- you did quite a good job :happy: I love the samples -- they feel really "fresh" and alive. The atmosphere is really broad and helps to draw you in -- it's definitely film-like in that regard. I think you have a lot of keys of music down -- harmonic work, using the instruments correctly in accord with each other (I don't have orchestration knowledge, but it certainly sounds convincing), and getting that atmosphere you want. Playa's comment about the horn timing is a minor thing, and it didn't happen to bother me. Instead of sweating the little details like that, I think that what would benefit your music here the most is creating melody -- especially something that you can use as a motif. All through the music, there's a lot of instruments doing a lot of things, and doing it very well. But your current melodic motif that you introduce at the beginning comes across as a rhythmic groove, like an ostinato, instead of the "voice" of the piece -- the hidden words. As a result, it sounds to me like it's the support, or counterpoint of what should be the melody rather than the melody itself. This is especially so at 2:00 in the strings, and towards the end when the horns get the voice. It just doesn't sound strong enough to be the main melody, because again, it comes across as an ostinato. When thinking melody, don't think "rhythmic" -- think "lyrical" :) If you put a really great melody on top of everything you've done here, I think this would be one of my favorites on the site. As it is, it's already very good, honestly. Thanks for sharing -- this was really enjoyable :phones:

I like a lot of the sounds in this, especially the string work. The backing strings at about 2min were really nice. What libraries did you use for these? The only criticism I have is that the ending horn melody before the fade out was slightly confusing to my ears. The timing felt just a little off, which seemed intentional, but made it a little difficult to determine what the feel was. Everything else was great.

For this problem, you have to combine two workarounds, one of rhythm, one for pitch. Both will look right and playback properly. I'm going to use a simple example with pictures to help you out. Rhythm: Since you need to have dual time-signatures, one time-signature must predominate, in other words, you need to establish the system time-signature for all instruments so the rhythm for all will relate back to that time signature. 6/8 and 2/4 are relatively easy because 2/4's quarter note is equal to 6/8's dotted quarter. Both have two beats per measure, it is just the subdivision that is different. We will use tuplets in 6/8 to simulate 2/4. To do this: Set a system time signature starting at the bar of the change. (Press T or Create>Time Signature) In this example, we'll use 6/8 as the predominant. Write out the notes that are in the desired rhythm. In this example just straight 8th notes will do, but any valid rhythm in 6/8 will work. Write out the notes that are in Violin II in 2/4. To do this, create a quarter note in beat one, then create a duplet (Ctrl+2 or Create>Tuplet...enter 2 in the box). Notice how the quarter is now equal to a dotted quarter in 6/8. Do this for every measure you intend to have in 2/4. Once you have the duplets written, you can go back and edit notes just like normal, just keep in mind you cannot break tuplets. (You shouldn't have to.) Don't worry if the duplet bracket looks funny with the new rhythm, it will be hidden next. Select the entire part that you made duplets for the 2/4. Go to the Properties window (Ctrl+Alt+P or Window>Properties) and go to the Notes tab. Under Tuplet, change both options to "None" and "No Bracket" That should hide all the brackets. Violin II should now be in 2/4 in everything except name. Now lets go back and change the time signatures. Select the original 6/8 time signature and hide it. (Ctrl+Shift+H or Edit>Hide or Show>Hide) Right-click near the now-hidden time signature and create a new time signature for a single staff. (Right Click>Text>Other Staff Text>Time Signatures (one staff only)) Type exactly "6[enter]8" with no spaces. It should render a perfectly good 6/8 text object that you can now position into place. Repeat the process for a 2/4 signature. Once you have the two text objects we can now position them in place. If you don't have it on already, show all the hidden objects (View>Hidden Objects). Your old 6/8 should show up in a ghost gray. I recommend zooming in a great deal so you can have finer control. Select your new 6/8 text object and position over top of the old 6/8 ghost. If you have magnetic layout on (Sibelius 6), it will make your life much easier by shifting it almost exactly in place automatically. Reseting the position of the text-object is also very helpful if magnetic layout is on. (Ctrl+Shift+P or Layout>Reset Position). It should work with a little patience. Repeat the process for the 2/4 and your done! Pitch: Luckily, dual key signatures is far easier than dual time signatures. Again, choose a predominant system key signature to start. With your new rhythm, set a predominant key signature. (K or Create>Key Signature) In this case, we'll use B-flat major. Note that you may have to adjust your note spacing around the new time-signatures depending on how wide the key signature is. Create a new key signature again but this time for only one staff. Press K (or Create>Key Signature) and select E major and check the box way at the bottom saying "One staff only." Click it into place on the Violin II part. Adjust the notes as desired and you're done! Really simply. Sibelius will playback the parts as written so no worries about playback discrepancies. Hope this helps you out! Let me know if you have any further questions. (I've attached the .sib example file for reference.) two violins.sib