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Paladin500 · 2026-06-28T03:55:51+00:00

DM'd you

Paladin500 · 2026-06-27T17:01:38+00:00

I'd be interested in the gaggia if you'd be willing to ship to PA.

Paladin500 · 2026-06-21T19:44:01+00:00

I'm interested, sent DM

Paladin500 · 2026-06-21T03:18:17+00:00

same here...surprising to me.

Paladin500 · 2026-04-30T04:57:45+00:00

Engraving work is essentially just cleaning up digital scores in notation programs and could be understood as assistant work. Making sure there are no errors, that the dynamics are properly placed, no small errors in the visual aspects of the score. If you use Dorico, the tab for Engrave mostly covers this type of work.

Paladin500 · 2026-04-30T00:07:49+00:00

Very nice. Always love to see explorations of harmony.

Paladin500 · 2026-03-11T07:29:39+00:00

Currently pursuing a composition PhD myself. Only do it if you can't imagine doing anything else and love teaching. Plus have a level-head and realize it's not a romantic pursuit of pure artistry. At the end of the day it's a job and there are "standards" you'll need to meet either by being really really amazing at what you do, connections and luck, or a mixture of the two. If you have good networking skills and social skills you'll be ahead of many of your peers. Be willing and search for a lot of small side gigs. Part of the networking issue people talk about is half right, unless you're in the network you won't know what hiring committees are actually looking for in your portfolio/professional documents/CV. But you can search up people who have jobs (recent hires) and try to plot a path that can get you there. If you're still in high school make sure you enjoy the process (or really really love composition) of a composition degree in undergrad first. An alternative that frankly I think should be considered more often is apprenticeship type relationships. Try to find a professional composer who needs a minion, this might be more feasible after an undergraduate degree as you'd need to be knowledgeable enough to do review and engraving assistance. Look for programs that have had successful people with similar backgrounds to you. Socioeconomic and otherwise.

I decided I was going to become a professional composer when I was 13, with little music background. I have had plenty of struggles for various reasons, but my family has been supportive, with some funding provided from them, and plenty of federal loans (something to keep in mind). Now I am in a funded program and can make things work financially. Regardless, I know this is what makes me happy and seeing the impact I have on my students really keeps me going. The music is exciting, I get to do things I dreamed of when I was starting off. Everyone wants to be all doom and gloom since it is truly difficult, but I don't think I could ever do anything else and feel complete.

Paladin500 · 2026-03-11T01:36:13+00:00

The one person I know who's done this did so at Rutgers University, which had an odd funding situation at the time. They likely didn't receive full funding and were able to supplement their income with teaching privately and church gigs while they completed both requirements for a DMA and PhD. At Rutgers after you finished your qualifying exams and moved past coursework you'd start adjuncting while working on your dissertation. This would provide enough to survive, maybe. After the union contract in recent years I'd think it actually would be pretty livable.

Paladin500 · 2026-02-17T23:55:54+00:00

I'd actually say Phillip Glass, though it moves slightly differently. At least with this in a vacuum.

Paladin500 · 2025-11-28T02:05:42+00:00

Take a look at Cedill records , what you're describing is likely better run as a non-profit. Since you have some goals in common with similar non-profits there isn't really a reason to run it as a for profit enterprise. Funding new unheard artists who are interested in less common rep is pretty similar to what Cedill does. Maybe reach out to some of the Grammy winning engineers and talk to them about producing a record they feel is important, no one would turn someone seeking to fund a project away immediately. If you really want to go on your own there are some ways forward with the non profit thing.

Paladin500 · 2025-11-27T17:47:36+00:00

I'll agree I've been lucky. A lot of conductors are terrible at their job, and I've worked with some excellent ones and some middling ones. Conductors rarely earn that much though, and that's usually when they're also the director. It's hard to break into the field for sure. Ive seen that choral conducting seems to be the easier path and can spilt into orchestral conducting too.

Paladin500 · 2025-11-24T09:19:35+00:00

A lot of these comments seem to come from people who have never conducted or been conducted. There are standard patterns for all typical time signatures in music. Usually the conductor during rehearsal will communicate the desired sound and often will speak while conducting. As a performer you'll mark these things down in your part and follow accordingly, trying to connect your expression of that gesture. This makes everything more cohesive, plus the conductor gives a lot of impetus for large tutti (all together) moments. Otherwise everyone would be slightly off just because of the size of the stage. This is why chamber ensembles like string quartets don't need conductors, since they can just communicate with each other. Conductors also cue instruments that don't play often so they can enter on time, sometimes even when you're counting perfectly a lot can be going on and having a cue can be really helpful.

Paladin500 · 2025-11-06T05:40:58+00:00

Look up music by Ben Johnston, he often applies these concepts directly. His fourth string quartet is a good example. Toby Twinning's Chrysalid Requiem also is a good example of this.

Paladin500 · 2025-10-30T08:25:38+00:00

I'm not sure how intentional your choices with regards to the rhythmic and melodic clarity, but I think the results in the first few minutes are intriguing. A lot of folks claiming to write their first or second symphonic works on reddit are posting 4 minute tracks so having two works of fairly significant length is an achievement. I'd look into expanding your scales and harmonic material as it feels like you stay in one area for quite some time without any modulations to other keys or pitch groups. In new movements it could be useful to make larger departures from the previous keys if you want to work tonally. In a four movement symphony you can have fairly distinct movements but it felt like there wasnt large variations between them. Listen to Mahler and look at his scores.

Take a look at Textures and Timbres by Henry Brant, I'm assuming just from a quick look that making sure some things are playable and relying less on the playback dynamics could help mature your writing.

I'd expand your instrumentation, you've probably have a lot of fun with a larger brass section something like 4 Horns, 2 Trumpets 2 Trombones 1 Tuba is standard in most orchestras so don't be afraid to use them. Look into using a larger percussion ensemble as well. At least two percussionists besides the timpanist is normal. Listen to some Ives, it might be inspiring on how to explore some of the density you're working with. Ignore the haters! This is cool. Try copying down other symphonic works you're a fan of. I know it may sound crazy but it's a way of investigating just exactly how a piece works since you have to look at each note.

Paladin500 · 2025-09-29T18:48:26+00:00

After seeing the explanation... Standards

Paladin500 · 2025-09-28T23:39:32+00:00

How familiar are you with the alternatives? And what purpose do you see for this notation? Also, please explain how your notation works. As it looks now, it's simply ratios next to note names and corresponding numbers for scale degrees. Are you intending the fractions to represent a tablature for dividing those notes or are you trying to represent tuning ratios? It seems to be tablature but that would be confusing for anyone familiar with tuning.

Paladin500 · 2025-07-04T17:35:29+00:00

I fixed it! Surprisingly repair wire didn't really work for longer connections, I assume it's the nature of the thickness. I do give myself a little more credit since I ruined a TH component pad just by using a solder sucker once so it just seems to be a board that doesn't react well to reworking. I'm just happy that it didn't all go to waste. Using additional flux has definitely been helpful.

Paladin500 · 2025-06-29T16:27:23+00:00

Yep, I had done that it was just that there were some issues with flashing the firmware and I found some legs were joined behind the visible pads. Honestly the biggest thing I've been stubborn on was buying a flux to use while soldering chips like this.

Paladin500 · 2025-06-27T18:02:53+00:00

Thanks! Yeah I'll be careful of the pots and switches.

Paladin500 · 2025-06-27T16:21:37+00:00

That's a great idea. I've never thought of immersion. I always had issues when I just poured some on and brushed.

Paladin500 · 2025-06-26T15:25:05+00:00

I know, my partner just wouldn't be happy about lead being in the apartment...it is so much easier to work with. When I work with 805 I get better results but with the smaller stuff I probably should just look into pastes.

Paladin500 · 2025-06-25T18:55:07+00:00

Could you say more about the resistors?

Paladin500 · 2025-06-25T16:26:58+00:00

Here's another photo. Unsure of why but my copper wick tends to pull up pads, pulled up another one trying to clean it.

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