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About Neblix

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

Profile Information

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

Contact Methods

  • Website URL
  • Skype neblixsaber

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) Piano
  • Instrumental & Vocal Skills (Other) Ocarina


  • Real Name Nabeel Ansari
  • Occupation Impact Soundworks Developer, Video Game Composer
  • Facebook ID 100000959510682
  • Twitter Username Neblix
  • Username Neblix
  • Xbox Live Gamertag neblixsaber
  • PlayStation Network ID neblixsaber
  • Steam ID neblixsaber
  1. Welcome to Shreddage 2 SRP, the newest KONTAKT PLAYER-powered virtual guitar from Impact Soundworks! Building on our legacy of rock & metal focused 7-string guitars, we've sampled a new American guitar performed by rising star Jules Conroy - better known as FamilyJules7x on YouTube. Together, we collaborated to create an incredibly versatile sample library that excels for hi-gain styles, but is just as well suited for a wide range of genres. Using the same great engine as our other Shreddage guitars, SRP offers total control over mapping, performance, and engine settings, allowing you to customize the instrument to your liking - OR just load and play, using any of the built-in FX presets! AUDIO DEMOS LIBRARY WALKTHROUGH (intro song is me!) SHREDDAGE 2 vs. IBZ vs. SRP COMPARISON KEY FEATURES * Over 15,000 new 24-bit samples * 7 strings with a low note of drop G * Clean (DI) recordings for custom tone crafting * Classic American sound: well-rounded and versatile * Ultra-realistic performance engine * Customizable articulation mapping & engine settings * Easy compatibility with Shreddage 2 & IBZ * Built-in FX rack with amp/cab presets * Compatible with KONTAKT PLAYER ARTICULATIONS * Single note & powerchord sustains * Single note & powerchord palm mutes UP TO 11 LAYERS * Single note & powerchord staccatos * Tremolo picking * Pinch squeal & regular harmonics * Portamento slides * Hammer-on and pull-off legato * Unpitched & pitched release noises * Over 100 FX sounds AVAILABILITY * Available NOW for Kontakt Player 5.3.1 * Intro price: $119 for new customers, $99 for Shreddage 2 license owners, $79 for Shreddage 2 IBZ owners Click for more information and to purchase!
  2. Newb Recording Question!

    So I did understand you right, and so my answer to: " Do I only hear the left or right panning? " Is the same; you will hear just one of the channels.Supposeyou lose the right channel, all you will hear is just a mono signal of what's in the left channel.When the sound from the Canvas is hard panned to the right, there will be no sound at all. When it's panned to the left, it's the loudest. You need to wrap your head around the fact that there really isn't such a thing as left or right in signals. Stereo RCA out is two cables carrying separate mono signals. One is the "left", one is the "right". Panning the Canvas sound is just changing the volume balance between the two mono signals.You're shoving 2mono signals via one connectorinto 1mono input on the Behringer, and so one of them gets cut out. Let me say that again. You're shoving 2mono signals via one connector (the 1/8" jack)into 1mono input on the Behringer, and so one of them gets cut out. TO CONTRAST, the line-inon your computerknows how to processboth of those channels.It isdifferentfrom the Behringer. I'm not sure how to make this clearer at this point. There's only so much an explanation will do for you, you have to actually play with the technology to see it working. Would you like me to make a diagram for you? Would that help?' P.S. Don't tell me how to use the forums. I don't post here just for you, I post for everyone. Also,WHYare you using an audio interface and then just putting it into your computer's line-in anyway? That doesn't makeanysense. That just brings the noise back.There's a USB cable on the back of the Behringer. You hook it up to your computer via USB and have FL Studio read the audiodirectly from the Behringer box. I think the reason for the confusion is that you're trying to record into this box and then direct monitor the Canvas sound straight towards the Behringer'soutputs and then fire that out of the box into another cable into your computer's line in. It's unnecessary. Eliminate the computer line-in entirely, that's what you need to do.
  3. Newb Recording Question!

    This is a very confusing description... you need to be specific and be careful where you're using the words "in" and "out". Where is the sound coming from? Where is it going? "to the line-in jack out of my computer" for example contradicts itself. Is it a line in or is it going out? I can help you understand, but you need to help me understand as well. If I understand you right, you recorded this using a stereo cable (like a standard headphone jack). If you take this signal and put it into the Behringer input, it's only going to get one of the two channels (either the left or right one, I forget which. I think it's the left). Assuming the left is what's captured,the right channel will disappear because nothing is connecting it. So you'll just hear silence when the sound is only at the right. You can likenthis to playing stereo music but turning off one of your speakers and placing the remaining onein front of you. If you want to get both the left and right channels, you need to have each part of the stereo RCA go to a separate input. In other words, stereo RCA out from the keyboard, two 1/4 go into separate channels on the interface. When the signal gets into the DAW, hard pan each one.
  4. Newb Recording Question!

    It won't be narrow-sounding; if you pan left and right the signals as they come into the DAW, you've 100% re-established the stereo space. Like I said... stereo tracks are nothing more than two mono tracks panned left and right. This is a universal truth in all of audio technology. It's not difficult to get them to balance. You question the design, but I assure you, this is how it's worked for many decades. There's no reason to label an input as stereo left or right; none of the electronics would change, at all. Unless maybe they automatically panned it for you, but then that would be gimping two perfectly good normal inputs and killing the versatility. Here's a more concrete explanation:if you take the stereo output of the Sound Canvas thing and run it into the two separate inputs on an interface, and then pan them hard left and right (100% either side) as they enter the DAW, it will sound 100% identical to the Sound Canvas. I understand coming at it from an angle of experience only with newer more sensible technology, it's confusing. However, I assure you, this is how it's done, this is how people do it, and it's not as difficult (nor does it compromise quality) to do as you may think. Give it a shot.
  5. Newb Recording Question!

    In audio recording since the industry became a thing at all, stereo has always been simply the combination of two mono sources panned left and right. When you record in stereo, for example, you're actually using two mics on either side of the instrument/performance, and they're both running mono as separate inputs (which, yes, have separate mixer tracks, separate EQ's, compressors, gain control, etc.) into the studio set-up and are panned left and right on the mixer itselfto appropriately space out the signal and the properly placed speakers recreates the stereo effect. The concept of a "stereo track" was actually pretty much exclusive to the digital era of software DAW's and beyond; they didn't exist in hardware, really. There have been some other micing techniques invented such as "Mid-Side" which aim to better capture stereo image and width through use of clever principles of wave math and geometry. One in particular uses two mics, a bi-directional (which actually creates two outputs because it picks up on both sides) facing left and right and a uni-direction facing forward.But even then, it's mixed down to a left and right channel in the end (ultimately are two mono signals that get sent separately to your left speaker and right speaker). Typical non-recording audio cables like in your headphones carry both signals at once; if you look at the tip of your headphone jack you'll notice it has2rings on it. Each of those is transmitting or receiving a separate signal (the single left channel signal and the singleright channel signal). In recording however, separate cables are used for each and every input to ensure proper shielding, minimal interference, etc. You'll notice standard 1/4" have one ring on them, that's how you know it's mono and only going to grab one of them. You can also find cables that are two single-ringconnectors on one end and one double-ring connector on the other; this demonstrates the principle more literally to show you that each ring on the double side corresponds to one of the other single ring connectors. To more practically answer your question, what you have to do is get the two channels as separate inputs (at the same gain, use your fingers, it's not that scary ) and then in your DAW or wherever you're recording to you need to have it set so the tracks are panned left and right so you hear it properly. Otherwise, like you mentioned, it's unnaturally narrow and doesn't sound good. Also, each cable needs to be the exact same length, or you'll get phase cancellation issues where one signal has some frequencies slightly delayed from the ones in the other signal and it cancels out creating a comb filter-like effect(because waves).
  6. Newb Recording Question!

    Yes, those inputs are designed to handle both line in (using regular 1/4 jacks) and mic in (using XLR). There's usually a method to tell the interface which one it is, like a button or something, because the electrical treatment is different for each one.
  7. Street Fighter V

    I don't agree with removing Vega's previous command-style but I understand why they did it; normalizing the characters makes the game a little more accessible. In a game with as much depth as Street Fighter V, accessibility is valuable. Though of course, they completely messed accessibility up by not offering challenge mode to teach basic combos on launch.
  8. Dark Souls 3

    That catacomb boss is gonna give me nightmares
  9. Street Fighter V

    The game is pretty awful outside of the actual fighting, I think mostly everyone agrees.
  10. Dark Souls 3

    I don't know dude, maybe adjust your playstyle? Try different things, if you're going for a first playthrough as a parry-maniac you're not going to have a good time. Thisisn'tBloodborne, it's Dark Souls. Pulling an incredibly risky maneuver like a parry isn't supposed to be easy or fluid. I don't think I've even attempted to parry once in this game. I haven't found a 100% physical shield yet, so it's not even practical to do a standard patience-and-hold-shield defensive strategy that's needed to learn the timing of the attacks to parry them. Going for backstabs and poise-breaking instead, having way more luck.
  11. Dark Souls 3

    I find the game panders to me a little too much. I go "I really wish there was a bonfire coming up..." and then look at that, there it *actually* is in the next 30 seconds. I didn't *mean it*, you twats. I played DS1 and DS2, I can handle it; don't treat me like a child. The risk and reward build-up isn't hitting me as hard as I want it to. Anyways, really pleased with the game. New combat feels butter, the punishes are brutal as enemies have more difficult and faster attack patterns. I like we've returned to singular contiguous level design instead of branching paths from Majula. Really interested in the narrative here, too. Spoilers: I saw a Giant Tree near the beginning of the game, I wonder what's going on there.
  12. EastWest Composer Cloud

    Uhm... no. iLok is a technology that existed independent of EastWest and Soundsonline. Many, many music software companies still use it. iLok 2 has not been cracked yet, so it's still functionally perfect piracy prevention. I hate iLok too, but let's try to be accurate and factual here. There's nothing "acid trip" about wanting to protect your business.
  13. Street Fighter V

    Well... I guess I lied; V-Reversals help you here. A V-Reversal is a command reversal that uses V-meter and functions like a red parry: once you block something, you can perform the reversal and it's an instant, unyielding reversal. Try it in training mode with a CPU opponent; it's really not hard to pull off, the input window for it is gigantic and I'm pretty sure you're invincible while it's happening so they can't just poke you out of it. Basically it just lets you stop a rushdown and get back to neutral, or rush them down.
  14. First Demo Reel

    Wow! Sounds nice, the one during the World of Warcraft footage was great. Spot on for that kind of area, I say as a former WoW player
  15. Some plug-ins don't work properly in offline bouncing in some DAW's. Kontakt has stability issues with changing tempos, and Omnisphere will actually omit the first note if it's right at the start. It's not really much of an opinion; it's just knowing the tech. Pretty objective.