Nabeel Ansari

  • Content count

  • Joined

  • Last visited

  • Days Won


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. It's very L4D2 style, especially where you can revive your incapacitated teammates, the characters are talking to each other while you're clearing waves, etc. Super fun. Overwatch needs a fucking campaign mode already. I dunno dude, it's hard for me to see any complaint about cosmetics and in-game currency systems as legitimate. It doesn't really affect the gameplay.
  2. Yeah, I think I first saw it around last year. I think it was a Knuckles reference,
  3. According to this, since latter half of 2015.
  4. I've spilled water on my keyboard multiple times and I eat messy food over it all the time. It's not so bad. :3
  5. Arby's has been doing this for quite a long time.
  6. Very nice! Though it would be better if it was longer and had a bigger story to tell.
  7. Well, the good news is you already seem to have a pretty strong intuitive sense for how to balance your sounds (and also just how to write music that works). In that track you linked, only the saxophones really stick out to me as bad. That being said, you can't get free saxophones that sound better than that; it's just not gonna happen. Anything that would sound better would take a lot of work, and that's work that someone would sell it for to make money on.
  8. It's more a matter of questioning why you say you "don't get" the complaint. Do you not understand the complaint, or do you simply not agree it's a common issue? Saying "I don't understand" can imply the issues are not important, or more extensively that it's other people's fault that the software had issues, or that the issues they have are not valid issues, etc. You can think it's good software, and recommend it, but still recognize that many people have had a lot of problems with it. It seemed you were implying that since the software worked for you, the fact that other people had issues is confounding and suspect; I wanted to point out I thought that was pretty illogical way to navigate the topic. As for the "now" situation, you were remarking on the complaints you'd seen for years, and the PLAY update was only recent, so I was responding to that specific observation (which has everything to do with old PLAY and nothing to do with the new one). To clarify, I don't mean a consensus that everyone thinks it's bad software, I mean a consensus insofar as everyone is aware that PLAY has pretty rocky, inconsistent experiences with people. If you ask a lot of those esteemed composers you're talking about if they like PLAY and it's good, they might say yes, but if you ask them if they knew that other people have issues with it, concerning RAM, voice playback, etc.. unless they don't involve themselves in the VI community much, I'd venture they would tell you they're aware of that. Furthermore, a lot of customers in VI industry aren't the loud and proud people you see on VI-C, and a lot of them aren't professionals. They might not afford finely tuned workstation rigs where PLAY's performance issues didn't matter, and that's definitely a factor here. I can tell you for example, the largest % of ISW customers (that we've been able to poll, anyway...) consider themselves hobbyists. I love it more when people come out of hiding just to scream about how people behave on the forums, making themselves out to be the exact douchebags they're trying to call out.
  9. Like John said, each kind of thing/possibility you can do will kind of have an unique emotional effect. You just need to gain the experience seeing all of them used in different music (or trying them yourself) to gain the ability to match an effect you want for your music to what kind of borrowed chord achieves that. The end of this rabbit hole (specifically borrowed harmony) is gaining a mastery of being modally fluid; you can just mix and match different harmonies around a tonal center without any regard for sticking to a specific scale structure. Dorian, Lydian, Phrygian, etc. going from wherever to wherever. A path to achieving this mastery is what Gario was talking about, having a strong understanding of counterpoint. If the counterpoint works, the progression works, and that's a path to this fluidity. It's like unlocking a whole new spectrum of color. Remember, being a learned composer is not about writing down rules for what to do in specific situations, it's about expanding your options for what to do in specific situations. Here are some pretty common borrowed harmony sounds you might hear in soundtracks or pop music. Play the listed scale and then try the chord after having the scale in your head: In minor, IV. So in C minor, play Cmin then Fmaj. In major, iv. So in C major, play Cmaj then Fmin. In minor, V. So in C minor, play Cmin then Gmaj. In major, III. So in C major, play Cmaj, then Emaj (then Amin to resolve, it's a secondary dominant). These are just a few small examples. Like you said, the possibilities are endless.
  10. This is just an issue of your lack of exposure to the industry at large; many people have had issues with the PLAY engine. I appreciate the snarky mirror remark, but there's a difference between arguing something because of your personal experience and arguing based on consensus. What's even more puzzling is that you recognize that you've seen this complaint "for years" but still somehow discount that and consider your personal experience an indicator that it's good software instead of the obvious outlier that it is. That being said, PLAY's latest version is actually good, so this is kind of a moot point anyway. They fixed a lot of their issues.
  11. So because you've never had a problem with it that means it's good software?
  12. You've provided 0 reasons why you think it takes place right after Ocarina. That's not a theory, it's just a random thought. Never mind the fact that you can't be after Ocarina but before the time split; the time split happens in Ocarina of Time. It's the branch of the ways the game's story can end. The timeline splits when Link pulls out the master sword. Timeline #1 He lives his life normally as a kid after killing Ganondorf, returning consciously to the time where he pulled the master sword out. This is what actually happens in the game. Timeline #2 A continuation of the events of the future where Ganondorf already screwed stuff up for 7 years and Link suddenly appeared as an adult and killed him. This world doesn't go away when Link returns as a child; that's not how timelines work. Timeline #3 Timeline #2, but Ganondorf kills Link instead, and new events happen in that world. The point at which events split is when Link first pulls out the master sword... but that's during Ocarina of Time, not after. After Ocarina of Time, the timeline has already split -- twice, if you count the "Ganondorf kills Link" one. But I don't, because that doesn't actually happen in the game, it's just a way for Nintendo to retcon a bunch of stuff as seeming to fit together when they wrote Hyrule Historia..
  13. The fact that you're covering Zelda tracks doesn't change what freeware is available for you.
  14. It sounds like you're just "not tone deaf", which most people are also "not tone deaf".