Kanthos

Members
  • Content count

    1,822
  • Joined

  • Last visited

About Kanthos

  • Rank
    Master Chief (+1800)
  • Birthday 09/22/1981

Profile Information

  • Location Newmarket, Ontario, Canada

Converted

  • Biography I'm a software developer and hobbyist musician wanting to move from just live performance to composition and arrangement.
  • Real Name Mike Chase
  • Occupation Programmer/Musician
  • Facebook ID 502344344
  • Last.fm Username Kanthos

Artist Settings

  • Collaboration Status 2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW) Cubase
    Reason
  • Instrumental & Vocal Skills (List) Organ
    Piano
  • Instrumental & Vocal Skills (Other) Rhodes, wurlitzer, keyboards in general

Contact Methods

  • AIM magekanthos
  1. How to Discredit a Former Employer?

    Maybe I'm missing something, Meteo, but where did you formally agree with them that all assets you produced were your IP, to be used at your discretion, and that you retained full control over your work? Do you actually have something in writing saying this? Or, do they have something in writing saying that all IP produced for the project is retained by the project and can be used as the project team sees fit? Or do you have nothing at all? It seems to me that in the absence of a written agreement saying otherwise, you breaking ties with them doesn't mean that they have to stop using music that you produced specifically for the project, even if you request that they do.   Breaking a 'contract' (again, what did you have in writing besides an NDA, which, unless it was more than a standard NDA, would only be related to you revealing their IP to the outside world) doesn't automatically imply they have to stop using your work. If I were to leave my job, my employer isn't required to delete all the code I've contributed to the codebase; is your situation different, and why?   If you have a good, previously-agreed-upon, reason to be sure they have no legal right to use your title theme, you could go after them legally, or not, but you're not going to gain much by going out of your way to slam them other than tarnishing your reputation as well as theirs. I know I wouldn't take a stranger's account of 'they phased me out and wasted my time' as 100% true without strong evidence to back it up; if I was hiring and someone complained in the interview or on the Internet about a previous employer, that would be an immediate red flag and they'd have to have seriously impressive skills, and be able to adequately explain why they complained publicly, in order for me to want to hire them. And if you don't have a strong reason to go after them legally, you have even less to gain by complaining.   I'd say that if you want to vent anonymously in public, without naming yourself OR the company or giving any details that could really tie them to you, then do so (or, perhaps this thread is all the venting you need). But I think you stand to lose more than you stand to gain by taking things public.
  2.   That's actually not how software and computers work. EVER. If something doesn't work, there is ALWAYS a reason, 100% of the time, whether it's bad configuration, a hardware problem, a software problem, or a user problem. It is literally IMPOSSIBLE for stuff to randomly 'stop working' with no cause. Physics, computer hardware, software, they simply do not and CAN NOT work that way. I'm a few months away from the 10-year mark as a full-time software developer, and have had interactions with customers in every position I've had, and you're exhibiting the behaviours of the most difficult customers I've had to deal with. The whole "It doesn't work and I want to have others listen to me whine about it" approach is a good way to annoy people and a terrible way to solve problems. You've been given a lot of suggestions in this thread and have provided little to no indication that you've even considered any of them, let alone tried them out. If you want help from intelligent people, you need to ask intelligent questions and you need to follow through on what they say, otherwise you're wasting everyone's time. If you're serious about finding a solution to your problem, please go through this thread again, top to bottom. The answer is probably in here already, or in the video that someone linked. Watch that video, and do EVERYTHING it says. Chances are VERY GOOD that it will solve your problem. If you have questions or don't understand things, google it or ask specific followup questions. There's more than enough knowledge in this thread to help you get the performance you should out of your setup. The one thing I can pretty much guarantee is that switching DAWs is going to do very little for you besides be a good way for you to throw away money. Your performance issues are from your configuration in some way, NOT simply from the fact that you use FL Studio. (If you don't want to believe the ton of evidence in this thread, then don't, but that attitude is one I would call stupid, given by someone who doesn't deserve help). By all means spend money on Cubase. A new program isn't going to solve your defeatist attitude, and it isn't going to fix any issues with how your system is configured. It may have better multi-processor options turned on by default, but no DAW is going to get rid of all configuration issues forever. What happens when you try to get a larger Kontakt sample library? Or add new plugins? Or upgrade your hardware? You don't seem like much of a reader, but on the off-chance that you actually care about getting better, you should read this. David Sirlin is a game designer with a lot of titles under his belt. While the eBook (available in full for free on his website) uses examples from Street Fighter and other fighting games, his ideas apply to other games and to other parts of life, especially the stuff about being serious about wanting to win, not having a defeatist attitude (what he calls a 'scrub'), and so on.   I hope you listen to the advice you've gotten in this thread, about your software setup and about your attitude. Maybe you'll make some changes to both and accomplish some cool things! But I agree with Flexstyle; don't come here, or anywhere, and waste people's time asking for advice and ignoring it.
  3. You might also find new appreciation for your own work once you share it with others. I've started a jazz/funk band and have never really tried writing original music before now, but the other members have appreciated the songs I've written sometimes more than I have, and sometimes, seeing how they like one of my tunes has made me like it even more.
  4. Star Wars: The Force Awakens (Spoilers Inside!)

    I recommend people read this: it goes into detail on some questions that wren't answered in the film (director's cut, maybe?) but are in the official novelization. Re 3): According to this, which sources the novelization, there was a beacon on the Falcon that turned on with the ship, though it was still coincidence/the force ("In my experience, there's no such thing as luck") that brought Han and Chewie to the right location. Re 5): I think the first link I posted mentions it, but there's a theory that Rey's force awakening wasn't an awakening from nothing, but rather, she'd been training as a small child at Luke's Jedi academy, and somehow, she got rescued and had her mind wiped by the force to protect her. That frames VII as her awakening to things she already knew (and possibly developing in some of them, what with her being older than when she was trained and all). If she was Luke's child, which I think she is, this seems especially likely. Also, that puts her vision upon touching Anakin's lightsabre into more context: she wasn't seeing things, at least some of them, through the force; some if it could've been remembering. Her getting left on Jakku, obviously, but Luke sending R2-D2 off and a view of what was presumed to be the Jedi temple, and the Knights of Ren, those could've all been things she'd already seen.
  5. How to make this synth sound

    I agree with Flexstyle on this; while there may be a bit of colouring from the house system, where the person is in the room, etc, I think it's mostly the phone. I've seen these guys 4 times live, in three different venues, I own every one of their recordings, and I've heard a number of other bootlegs. Compare the first video to , the "studio" one (they record their albums for a live audience in studio-quality settings, so it captures the energy of a live show but doesn't sound as bad as a typical live show).  I left my amp at my band's drummer's house last week (we rehearse there), so I can't hear the sound in open air, but I'm pretty happy with where I ended up on it tonight. Not what I hear on the youtube video, but it sounds like I won't get there without distortion anyway.   So, thanks guys!
  6. How to make this synth sound

    There's no tricks on a standard subtractive synth to get that kind of buzz? I might be adding a distortion of some sort to my pedalboard, but that wouldn't be for a while so I can't depend on that now. Not the end of the world anyway, since I'm just setting up a bank of lead sounds on my Moog right now to use where appropriate, as opposed to trying to dial in the perfect sound for a specific song, but still, the mic colours the sound that much?   (If so, then I guess I'm probably closer to the sound as programmed, and also not as inept as I thought!)
  7. How to make this synth sound

    There's no studio recording. One of the things Snarky Puppy does is randomly quote some other song. In this case, "Give Up the Funk (Tear the Roof off the Sucker)" by Parliament, and then they transition into one of their own songs partway through the video. They tend to change up the gear they have to use often (based on what they can get in a particular city and what they bring with them), so there's no guarantee that anything will sound exactly the same from show to show.
  8. I spent over two hours last night trying to copy (the synth playing melody right at the start of the video) and I couldn't get close enough to be happy with it. I have a Moog Sub 37 and Cory Henry's playing a Moog Little Phatty, so they're not identical, but pretty close, and the Sub 37 can do everything the Phatty can do plus a lot more.  My attempts were less "buzzy" than the recording. I was using a saw wave, and sometimes turning on oscillator 2 with either a second saw slightly detuned or a saw/square mix, and playing around with the resonance, filter envelope, and filter key tracking, but everything I came up with was either a bit too dull (if there was less resonance), or the resonance made it just a bit too "squelchy". I played around with the filter slope too, but just remembered now that the Little Phatty only has a 24 dB filter.   I'm still fairly new to synth programming; I know the theory of what all the controls do, but putting them together to get the sounds I want is still a challenge. Any idea what else I might try, or if I was likely on the right track and just didn't dial in the right combination of filter cutoff/resonance/envelope/env amount/oscillator type?
  9.     I don't know; while people here have different skill levels, there are enough people with adequate skill to call out anything unreasonable. All you really need to learn from other people is knowledgeable people who will take the time to help you learn.
  10.     Relevance is extremely subjective, though. Sure, no one would write a program to feed a guess into the computer and have the computer guess that number. (I've seen similar examples where the computer has a random number and the human has to guess it, and the computer says 'higher' or 'lower' until you get it right; that at least is believable). But the problem with teaching programming is that virtually nothing you would ever write in, say, an introductory programming course is going to be in any useful in the real world to a wide variety of people. How many people need to find a tempo in phase with anything? Teaching programming is all about finding examples for people to learn the concepts so that when they come up against real-world things they want to automate, they understand how to do it. The only way you'd have a really relevant learn-to-program course is if it was targeted at a specific audience (e.g. "Learn to program C++ and eventually write your own VSTs") or if the whole course is building up a large project *and* the learner is smart enough to adapt the concepts as they learn them. For example, I've seen a book that has you build up a database-driven website as you learn to code; a smart person could take that and build up their own database-driven website without making the exact website that the book tells you to do. I'm still not sure how that would get you around the basics of learning loops or functions or other elementary topics, though; I'd imagine it'd be hard, even in that context, to say, "Here's a loop we're writing that's going to be important in the big picture of the project but is also able to stand alone and not rely on things that you don't yet understand".
  11. Some really bad advice in this thread, guys.       Timaeus' example isn't really irrelevant, at least not any more so than any other toy program to teach something about programming. It doesn't matter if the code is relevant or useful or not; what matters is how you use it. Neblix's example is easier to understand, though, and is better-written code.   Metal Man, the one thing in which Neblix and Timaeus are both right is that your code isn't very good. You're a beginner, so that's expected, and you know that you won't learn without trying, but I *do* agree with the recommendations that you find an "intro to programming" course online; there'll be all kinds of stuff you can do for free. I do strongly recommend you do it in Python though.
  12. I've never had a proper Radias, but I used to own a Korg M3 workstation which had an expansion card containing the Radias (without the effects and such, since it just used the M3's effects engine). Both the Radias and Blofeld are good choices, and I'm sure you'll have fun with whatever you end up with!
  13. I just picked up a Waldorf Blofeld two days ago. It's just the module, but I've already got a Korg Kronos and Moog Sub 37, so I didn't need another keyboard. In my case, I play live, and while the Kronos does a great job of polyphonic synth sounds and my Moog will always be my first choice for leads, I wanted something that's a bit easier to program than the Kronos and that also gives me the flexibility of playing a part on the Kronos and bringing in another sound with ease. I play a lot of modern jazz, so I want, for example, to be playing a Rhodes on my Kronos and to add a pad or synth brass or stabs or whatever without being forced to build a bunch of combinations, as that makes switching a lot harder. Let's say I have 8 synth sounds I'm likely to call up on occasion. Well, do I make 8 combis (Korg's term for patches with multiple sounds, potentially on multiple MIDI channels) for playing those 8 sounds with a Rhodes, another 8 for playing those sounds with a piano, another 8 with a wurlitzer, another 8 with a clavinet? And what about playing all those sounds with a B3, where I use many different B3 patches due to the different drawbar settings, chorus/vibrato settings, percussion settings, etc?   So, that's why I went looking for another synth. I'd ask yourself the following questions to help narrow it down.   1) What is your budget? 2) Do you need a keyboard? How many keys do you need on it? 3) What kinds of sounds are you going for? Do you need something with decent polyphony? How many effects do you need? 4) How easy do you want it to be to program? Do you want one knob per function? Are you ok with a few knobs? 5) Do you actually need a hardware synth? VSTs will be cheaper than the equivalent hardware, and are typically more powerful. You can do something like buy Spectrasonics Omnisphere and a MIDI controller for roughly the cost of a decent synth module or keyboard. 6) What VSTs and other gear do you already have? Whatever you get should be unique, not just duplicate what you can already do, unless you have some other motivation for doing so (e.g. a synth that can replace your laptop for live performance) 7) Are there any other special considerations?     I tried a few other synths before settling on the Blofeld. I rejected a Virus Snow because it was too hard to program; it had too much menu diving and not even four knobs, so you couldn't do things like set your ADSR envelope from knobs all at once. I tried a MiniNova but it felt cheap (though the keybed was the best mini-size keyboard I've played); there were some issues with some of the knobs not registering all the way from 0 to 127. It has a lot of menu diving too, though you can get away from a bit of that with the knobs, which you can use to select sets of four parameters. The thing I didn't like is that, other than two sets of 4 assignable combinations for the knobs, the choices of what was on the knobs was fixed, and wasn't always sensible (e.g. not being able to control the whole envelope). The Blofeld is better in this regard because not only are the combinations more sensible but you can push a button to move between them (rather than move a switch to just the right spot) and the parameters controllable through this parameter matrix aren't usually in the menu. So, for example, you'll choose the Filter Envelope and edit the ADSR parameters through the knobs and only a few other parameters on the menu. And, pressing the Filter Envelope button jumps you to the right spot in the menu. The Novation UltraNova is similar in this regard, though it has 8 knobs instead of four and basically mirrors the menu structure. I'd guess it's roughly on par as the Blofeld in terms of ease of programming it; probably a bit more complicated for the most common parameters (as they wouldn't always be the first four knobs), but easier to get to less-common parameters (I think there were no more than two pages of 16 parameters per section, except perhaps for the modulation routings, which are going to have a lot of menu diving on any synth unless there's only a small number of routings in total.   Anyway, for me, my budget was under $1,000. I didn't need a lot of effects (I have a few effects pedals as part of my rig already), but I did need something with decent polyphony (otherwise I'd just use the Moog). I wanted something as small as possible to keep the overall size of my keyboard rig down, and I obviously needed hardware because I play live. The sound is also really important too, but to my ears, I didn't find any of the synths in this price range to be really superior. The Blofeld offers some features that the MiniNova and UltraNova don't, while the Novation synths have more effects. The Virus line is probably the best in terms of range of sounds and features, but as I said, I didn't like the way you program the Snow (which is admittedly not that bad; it just didn't feel that easy to me, and since I'm only really learning synth programming, I want something that does as good a job possible as supporting the way I want to work with a synth), and the larger Virus synths, which do have (mostly) one knob per function, are more expensive and larger.   One negative thing I'll point out about the Blofleld is that a lot of the factory patches are pretty quiet. You can adjust the volumes easily enough, so that's a minor annoyance, but it's worth mentioning at least.   Ultimately, you need to use your ears and go out and try a few different synths and see what works best for you. I'm happy with the Blofeld, but you may find something else just really works for you. I would recommend that if at all possible, you don't go for whatever's cheapest; if there's something a bit outside your price range, and saving up for it is feasible, I'd suggest you do that rather than settle on something that you won't enjoy as much. If you're fairly close, that is, and you have the potential to save up in a reasonable time. Waiting a few months to get the synth you want is preferable, I think, to getting a synth now that you won't be happy with. On the other hand, if your first-choice synth is something like a Virus TI 2 Keyboard which runs for over $3,000 new, and you're not going to have that kind of money for a couple years, that's the time to settle.   Good luck!       Hmm, I reread your post and noticed you were saying 'learn to play with both hands'. That narrows your options considerably. I'd steer you away from anything with less than 49 keys in that case (so no UltraNova). I find 37 keys on my Moog to be a bit small sometimes; my ideal would be a 61-key synth and my weighted 73-key Kronos (I find I don't need a full 88 for anything but the odd classical piece I still play, and even then, most of the classical music I play doesn't need a full piano's worth of keys). Anyway, you're not going to be able to develop any serious two-hand playing techniques on a 37-key keyboard. If you're playing in C (37-key keyboards are almost always C to C), you can do one-octave chords in your left hand, not going higher than a C, and have only two octaves left for melodic parts or chords or anything. That's just not enough. If your biggest concern is having something to learn to play on, I'd strongly recommend a 61-key MIDI controller, because I can't think of any decent 61-key keyboards in your price range. The Blofeld keyboard version, at 49 keys, is a bit of a compromise.
  14. Korg USA music technology job

    Hi guys,   I've got nothing to do with Korg (besides using one or two pieces of Korg gear). I just saw this job posting on twitter and I bet there are a number of people here who might do a great job of it. The position is for sales and product evangelism for Korg USA, and for someone who might not want to go the route of being a game composer but who still loves remixing and other aspects of music and technology, it might be a really good fit. Check it out if you're interested.
  15. I'm not a mod, but I'm a big jazz fan, and I'll vouch for his harmonies and timing. This is very much within the vein of solo jazz piano. It's a bit more free-form than most of the music on OCR, but it's not meant to keep to a steady beat. The harmonies are fantastic and none of them sounded out of place to me; I heard shades of Dave Brubeck and Bill Evans in there.   I'm not an expert on the quality of the piano sound, but compositionally and performance-wise, I think this is great.