Nabeel Ansari

  • Content count

  • Joined

  • Last visited

About Nabeel Ansari

  • Rank
    Pikachu (+5000)
  • Birthday 11/02/1995

Profile Information

  • Gender
  • Location
    Philadelphia, PA
  • Interests
    Music, Mathematics, Physics, Video Games, Storytelling

Contact Methods

  • Website URL
  • Skype

Artist Settings

  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    Studio One
  • Software - Preferred Plugins/Libraries
    Spitfire, Orchestral Tools, Impact Soundworks, Embertone, u-he, Xfer Records, Spectrasonics
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
  • Instrumental & Vocal Skills (Other)


  • Real Name
    Nabeel Ansari
  • Occupation
    Impact Soundworks Developer, Video Game Composer
  • Facebook ID
  • Twitter Username
  • Username
  • Xbox Live Gamertag
  • PlayStation Network ID
  • Steam ID
  1. Yeah, you're so good and experienced:
  2. A good Widowmaker on Shrine will die against a team of good everyone else You're continually using skill as a way to try and shift the conversation of the viability of the character, when that's not really how it works. If you make suppositions like "if widowmaker player skill above a certain point and the enemy team is at or below that point or the players at or above that point are playing characters Widowmaker is strong against, then of course Widowmaker is OP HURR DURR" We're not talking about that. We're talking about kit design, map design, overall meta (her winrate in competitive is bottom of the barrel). Skill is irrelevant; it's a team game, someone particularly good at something doesn't translate to how it interfaces with the other 11 players in the game so much as how that player is contributing to composition. If your entire argument is that you get killstreaks with Widow, it's a really weak argument. The people you play against are shit. That is the far more likely scenario than that the general Overwatch community has no idea how to play Widowmaker effectively but you somehow do. And for the record, Widowmaker is 4th place in KD despite her shitty winrate, so your citing of killstreaks isn't really contradicting anything; it's actually coinciding with the statistical trend that Widowmaker is good at killing people but not at winning the game. Symmetra has the highest winrate in the entire roster, and Mei has a higher winrate than Junkrat. As for offense, Reaper has the highest winrate. McCree statistically fairs better then Pharah. Tracer fairs better than 76 (but they are both bottom of the barrel). You're right about Genji though; Shimada bro is dope.
  3. "i was playing and it was like this so that's the meta" "no i was playing and it was like this so that's the meta" I think you might have misinterpreted my post, because you're talking about viability, strength, etc. I'm not saying I don't find him strong or viable, I'm saying the playstyle in which he's most effective isn't very fun for me to play. I like to play him as infiltration (so the opposite of a sniper, not what you thought), using vision and scatter in corridors, getting behind lines and getting surprise kills on people. That's not how you're supposed to play him, and he's less effective that way, but I like it more, and wish it was more viable. I am not asserting that is the direction Blizzard should take him. I simply would enjoy it. That's all I'm saying. And yes I know I could just play Genji. That's not the point, I like Hanzo's kit more.
  4. Maybe what you're referring to is when people write virtuostic music that requires expertise in order to play (like piano etudes or super fast shredding licks). People hate on that because they feel like the performance is distracting from the music... which is incredibly stupid and, again, juvenile as Skryp said, because the performance is the music.
  5. This title is very misleading. You're using the word perfection as if to discuss aspects of striving for perfectionism but what you actually mean is writing music locked to sequencer grid (mechanical). I've never met a single performer who strives for a robotic performance void of expression. There is a case for experimental/electronically enhanced genres like prog metal, but it's done for effect, intentionally, to evoke a sound. It's not the default means of expressing a performance, but a specific feeling for a specific kind of music. I have never met a computer musician who's tried to add performance mistakes (wrong/pitchy notes, missing beats, etc.) into their humanization methods. We add velocity changes and timing offsets, but never to make the performance sound wrong, as if the person playing sucks at their instrument. If I were judging something like that, I'd scold for doing so much work to make samples sound human only to make the virtual performer sound like an amateur. There's no contradiction here. Everyone is striving idealistically for incredibly tight and expressive performances. It's just that in computers, the tightness is done for us, so we have to add the expression. In performance, we have the expression, but we have to perform to the best of our ability to add the tightness. This extends to cover expressions in tempo; for example, the difference between an amateur pianist doing rubato (playing void of tempo masked as expression) and a professional pianist doing rubato (playing with elastic tempo changes that keep the lines and phrases in correct proportion). This is why in proper piano practice, you're supposed to play the piece as strictly in time as possible, so that your fingers understand how it's constructed vertically and horizontally, and then you move on to adding expression and dynamic. The problem with a mechanical performance is not primarily that it sounds unrealistic. That's a nasty side effect. The real problem is that it lacks expression. If something has expression, even though it is unrealistic, that is a lot more forgivable.
  6. After playing 60-ish hours of Hanzo I feel compelled to say he still needs some work. I think the problem so far is that they're trying to focus on his damage output and methods to try and balance him and not enough on his overall kit. So they're doing this weird dance where they're playing with his hitbox and arrow speed to figure out what makes him technically "balanced". However playing Hanzo is still only kind of viable and generally kind of unfun, because he has really bad movement problems. Hanzo's only mobility is his wall climb, and the wall climb registration is inconsistent af in this game. If you're caught as Hanzo, generally speaking, you're pretty much dead on the spot. You don't really have a lot of escape opportunities, or things that can viably buy you time to get out, unless you're in a location where the wall situation is convenient. Contrast with Widowmaker, who has a grapple hook, and Ana, who has her heal grenade that can give her a decent tipping of scales. While he's technically very strong in the math, the experience of playing him still leaves a bit to be desired. I don't really feel the same kind of confidence and control as I do when I visit some other Heros. And I'd have no issue with them nerfing some of his damage aspects in order to grant him better control and versatility. I think buffing his damage to compensate for his rigid gameplay style would imbalance it too much, especially for the "git gud" players who don't care. tl;dr His ideal style right now focuses too much on preventing bad situations, and basically leaves hollow his ability to react to bad situations already occurring. I think they could keep his balance where it's at right now but shift the playstyle to be more accommodating.
  7. I think Bleck's right, in that I think this has to do with entertainment industry in general slowly approaching a state of (unjustly) hyper-optimized being. Everything is more efficient, easier, faster, more productive; as a result, patience is thrown out the window, we cut to temp scores; taking risks is subconsciously considered inefficient, and therefore something that needs to be cut out of the process.
  8. Android has a limited selection of audio apps because the OS's ability to process low-latency audio is hacked together and not very good. You won't really find a vibrant and inspiring mobile music making environment unless you switch to iOS.
  9. An acoustic album of arrangements of the Americana Dawn music has been out already for a couple years. Also, I imagine someone who wrote music would have a very easy time "midirip"ing it... Composers don't really do that regardless, they tend to just organically rewrite stuff instead of grabbing MIDI's from past projects.
  10. Overwatch. Where it's possible to obtain technological super powers and become a funny and charming god of war. Isle Delfino from Mario Sunshine for that s u c c u l e n t s e a f o o d. @DarkeSword talked about Mario Kart beach locations, they're (at least, the more recent generation of games) are often based on Isle Delfino's aesthetic. Also, the world of Assassin's Creed, just to soak in the alternate world history where every major world event had something to do with the hidden (and for a good portion, religious) conflict between assassins and templars.
  11. I think @JenZ is going
  12. What he was saying is that it doesn't make a difference whether it's "just a few samples here and there" or more prolific use; the company can still find it objectionable even if it's "just a little bit" and be in their right to claim on it, like you said.
  13. Absolutely fantastic read. @Brandon Strader you'd be interested in this as well.