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About Neblix

  • 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
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  1. Eh.... I'm not quite over there, you're still a little alone. Sonic 4 was really not good, and Unleashed was like half good, but fell short through the tedium of its requirements that you collect a shit ton of medals to progress.
  2. Sonic Generations and Sonic Colors were awesome, dude.
  3. 1. I agree. 2. The easiest way to see if someone has a budget is to look at their team/company, their access to assets and other services they're utilizing for their game, whether for the game itself, for marketing, etc.. If they're taking advantage of resources that cost money, they have money. They're simply not allocating it toward our service because they're trying to shortchange us. Unless it's a completely blind gig where we can't see anything about the game and just have a single point of contact for work specs over skype, we can put two and two together; it's not rocket science. Again, I'm not saying free work is always a no, but if there's nothing compelling you to work on the game specifically (out of interest, passion, etc.) time is better spent looking for bigger (bigger can mean more compensation, or more interesting, or more exposure) fish to fry, especially if the developer demonstrates they don't really value your contributions. In short I don't agree with working on a game for peanuts just because you want to work on something. That doesn't really help ("swing at every ball" is a myth). You have to be getting something out of it, otherwise your time is wasted. 3. I agree.
  4. In what world does that look like an NES to you? Have you actually owned an NES? You could've at least picked an image that actually, you know, looks like an NES, like: (Yes, that's a Pi in there) The point still stands; I don't care about Raspberry Pi's, or setting up an emulator environment, and I don't care enough to rip open an NES just so I can put a Pi inside of it. If I wanted to emulate stuff, I'd do it on my actual computer and spend $0 instead of $75. Emulating is also not supporting Nintendo (something I'd like to do).
  5. Just like the rest of... who?
  6. 1. $100/minute is not a standard rate, at all. Standard rate is around $800/minute. But that's for full professionals because that's their cost of business. If you're an indie/hobbyist, you can charge much lower. I don't see anything particularly wrong with $100/minute. 2. A dev will pay for music if they understand the importance of budgeting out for quality creative work. A dev who has a budget but doesn't allocate it properly for music likely doesn't understand the importance of good audio, which makes it even more likely they don't know what they're doing, and the project will be of no benefit to you (someone who doesn't know what they're doing is not likely to make anything good). So even as a free portfolio piece, it doesn't really net you anything. Maybe gives you some music to sell and post on your page, if you retained the rights properly. (***See way below) 3. You shouldn't worry about making the music itself "worth" $100/minute. Music is not a commodity, it's a creative service. The price is based on your cost of doing business. If you can make music fast, make good revisions and listen carefully, then that is what makes your service worth more. In other words, the better you are at communicating and doing your work with a good turnaround, that justifies your price, not so much the quality of the composition/production. If the dev doesn't like your composition/production, it's probably going to be difficult to get them to pay anything for it. 4. See above. ***This is a way different story if the dev doesn't have a budget, i.e. they can't pay you. Then it's not an attitude problem, they simply just don't have the money to give you. For these kinds of projects, you'll want to negotiate a portion of revenue, and rights to sell the soundtrack (with some kind of revenue split there as well). You should get some piece of the pie. Unless it's not being sold, then obviously there will be no compensation, and you're doing it on passion. Lastly, the most rare case is if it's project where the pure exposure itself is actually valid (again, this is rare). If it's something that'll be so big and gain you actual exposure, networking opportunities, recognition, etc. then it's okay to work without compensation. This almost never happens, though, so be very careful.
  7. MindWanderer was talking about Raspberry Pi's. They're just regular computers with Linux on them. Emulating the NES is as easy as downloading and then just DLing ROMs of your favorite NES games. That being said, I don't give a shit about Raspberry Pi's and they don't look like a NES, so I'm gonna buy a mini-NES.
  8. Pokemon GO and then this. Nintendo's really maximizing that pre-NX revenue. I wonder what they're planning.
  9. dopex
  10. Your mistake is requesting rational discussion from someone who clearly has no interest
  11. This sounds like an issue with your installation. Try reinstalling Kontakt. Or, as DJP linked, could be a Service Center metadata issue. I say this because it's impossible for a sample library's code to render Kontakt at all unstable and unreliable except in the very few cases where it performs file I/O. These are things like loading convolution reverb impulses, and loaded presets using the internal preset system. However, these are things that many, many sample libraries do, and have never caused issues except in some cases during SAC testing when users were allowed to rapidly randomize SAC settings by mashing the randomize button without any safeguards in the code in place (and we took care of those before release). Even still, none of the above usage cases of Kontakt's file I/O have anything to do with libraries disappearing and nki's being forgotten from DAW projects, and no SAC testing has ever come up with this issue prior. So it really does sound to me like a DAW/Kontakt installation issue. Does it not happen with other Kontakt libs?
  12. Where do you guys get this stuff? I have not met any researcher who approaches inquiry like this. It doesn't make any sense. >_> You can't start on a premise that you can't disprove something and then derive conclusions from that. You have to prove it can not be disproven before using it as a premise. A lack of counterargument or lack of counterexample doesn't prove anything, nor does it disprove anything. Lack of evidence is not, nor is ever considered a valid premise to support some argument or counter argument. Your relation is backwards; if something can not be scientifically investigated, it can not be disproven. That's not the same as the converse. Every mathematical proof can not be disproven (because that would violate tautology, and dismantle logic in general...), and according to you/Shadowe that renders mathematical proofs illegitimate concepts/things that can not be scientifically investigated. Sorry for going down the rabbit hole, but there's a baseline of literacy in logic you need in order to have thoughtful discussion. :/
  13. What the hell kind of logic are you smoking? A concept is legitimate if and only if it can be disproved? Does that not mean that all legitimate concepts render themselves illegitimate by virtue of the requirement of being disprovable? You've talked yourself into a paradox. I think you may be trying to hint at the concept of a "loaded accusation", but the way you explain it isn't at all how it works. Perhaps you're also not really being careful about the use of the words "prove" and "disprove" as well. Proving is an objective endeavor, and so is disproving. It's non-negotiable, objective truth. Perhaps you mean "refute the claim" or providing counterargument in any fashion, in which case I would agree with you; it's something that's so loaded that it's impossible to disagree with. The only other alternative is it being universal truth, like 2 + 2 = 4, also impossible to disagree with (though I'm sure some people on this forum would find a way).
  14. Yeah, I'm a fan. Critical analysis without the condemnation and agenda pushing. Notice how the YouTube comments, notorious for being a cesspool, while still having dissenting views, is filled with people posing questions and playing devil's advocate rather than flaming and hate.