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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. SAC is licensed. You can just download the free 5.5.2 player.
  2. How do I vertically flip a midi?

    What DAW are you using? Some make this easy, some don't.
  3. Reason 9 is coming

    I saw this; as a non Reason user, every new version entices me to want to play with it. I feel there's a quality of nostalgia (even though I've only tried Reason like once) to it that reminds me of when I was way younger doing lots of Mega Man remixes and having all my remix friends showing me their Reason projects.
  4. Something is affixed the OCR name when djpretzel approves of affixing the OCR name to it. That's really all there is to it. It's how it's worked for... almost 17 years now. No one is allowed to represent OCR with a project without djpretzel's approval. Super Audio Cart was naturally approved by djpretzel, considering, you know, he designed it.
  5. This just in, zircon and djpretzel claim to be part of the OCR community, BUT DO THEY REALLY KICK THE LLAMA'S ASS?
  6. Personally, I feel it's very reasonable if you consider that a modulation matrix has never been done in Kontakt before (it's been tried but never fully delivered on like a real synthesizer). Let's not forget the host of other big features like deep poly arp sequencer (seriously, this alone you get lost in for hours; drumbeats, riffs, melodies, etc.), the 4 part independent layering system, range-splitting, the quick dice-roll randomizer (whole patch AND per layer), the endless sound design and modulation parameters... you won't find this in any emulation VST. Yes, I'm marketing it to you, but I love this thing, and you should too!
  7. Almost every person who worked on Super Audio Cart has been a member of this community for over 10 years. OCR is not and was never about preserving the romanticism of slaving over art without any compensation. That's stupid (attributing it to OCR, that is). Something you apply for yourself; that's fine, there's nothing wrong with having that as an ideal, but keep it to yourself and don't say nonsense like this "disrespects the community". This was made by our community.
  8. CineSamples - Yes or No?

    Pretty much. Counterpoint creates a perception of thickness and movement, which is crucial to a big emotional sound. Sometimes I'll write some 4 or 5 part strings in a single Albion string ensemble patch and then port each individual line over to one string section in CS2. The end result is a workflow where I can play string chords and stuff on my keyboard to figure out what I like and tweak all the voice leading in one piano roll and then separate everything at the end to get the legato scripting and dynamic x-fades in there and the obligatory "realistic" ensemble setup. I hate just starting with legato patches because it's monophonic, really hard to draft harmonies without editing 4 or 5 MIDI channels every time I want to see a different chord or voicing or something. I know CS2 has a Full Ens patch; Albion has a better sound to me, so it's easier to be lazy by keeping it in Albion and not putting in the work to transfer it to CS2. xP It's not ridiculous, I've spent much more than that on music stuff. It's about cost-benefit. Granted, now I've kind of saturated my line-up, so I'm buying fewer and fewer things these days.
  9. I want to build you a computer

    Why would you use VGA when there's an HDMI port on it ;~;
  10. I want to build you a computer

    It's basically when a CPU core pretends it's two cores.
  11. CineSamples - Yes or No?

    Oh boy. Anyways, the points are as follows: 1) Ensemble libraries are useful to have around, and worth investing in, for speed purposes. Anecdotes from exceptionally skilled/trained composers who've done this a long time don't apply to everyone's skillset. Not everyone is classically trained, or even knows how to write counterpoint or has studied orchestration. Plenty of professionals aren't either. When I say professional I don't mean "high profile grandmaster orchestrator", I mean people who make money off of writing music. There's a lot of them. Like, a lot. A great many of them are not Austin Wintory, or Williams, or Newman, or Uematsu. It's silly to base a career workflow on what extremely talented and trained/practiced people do unless you also have the skills they do. Not everyone writes music on sheets, for example. The point about what you see on sheets is irrelevant; sheets are written for PERFORMERS. Of COURSE they have individual sections laid out, otherwise it can't be performed. That's not what this is about. I tend not to assume everyone is already well-versed in orchestration and counterpoint techniques, especially not in a video game remixing hobbyist community. I structure my replies in threads to address everyone, not just OP. 2) Like Neifion said, the best results of using ensemble patches are with mixing in sections. 3) What's more "organic" from a physics standpoint really doesn't matter even though I disagree with Neifion, because like he said, performance and composition kind of trump this. Nothing with x-fades ever sound good anyway. Legato scripting is a ruse itself and won't stop being one until we move into more signal-based VI models. You can nitpick on what makes something less organic until you realize that pretty much all the current modern options sound pretty good regardless of their relative standing, and we're probably starting to reach a saturation point with orchestral sample library quality. Need to advance the platform/engines before we can move forward; so long as we're stuck on crossfades as the crux of all of our tone and dynamics morphing, we can't really get much better. Maybe more playable/intuitive to use, though. This is not actually a good assumption, because like I said, it doesn't work for everyone. My first orchestral set was CineBrass, CineWinds, and CS2. I tried the section writing thing. I was clearly interested in sectional writing. Didn't work for me. I'm not classically trained, and don't pretend to be to my own detriment. I stopped caring about the potential of the technique I was trying to do and just started doing what works for me musically for speed/creative output. Yes, I am missing out on intricate detail and artistry, but I don't really care, because it takes me too much time and patience, and I can't sustain that workflow, and then I stop altogether. That's worse than writing music that's not as ideal as it could be. I thought it would be worth sharing that with someone before they blow $1000 on something when $500 on something else could be more beneficial for them if they didn't know what the options are. That's not a tangent, that's giving context. Yeah, I'm not a freaking multi-million dollar composer, but I've been doing this a long time and I work in sample libraries. I'd think my opinion is at least worth considering, if even just one person ends up also finding out that mixed section + ensemble libs helps them work better. Maybe I'm overextending much. tl;dr I calls it as I sees it.
  12. CineSamples - Yes or No?

    You seem to have gone way off on a tangent here.
  13. CineSamples - Yes or No?

    When individual sections are put together in a mix, it sounds even less organic. It's the sound of flutes playing alone, plus oboes playing alone, plus clarinets playing alone, etc. Ensemble playing isn't additive. It's not a bunch of vacuums with walls removed and everyone does their own thing. There's no synergy. There's no intrinsic balance between the musicians. Of course, ensemble patches also have flaws, like you said, different sections having the x-fades at exactly the same time has a not great effect. I'm not glorifying ensembles over individuals, I'm just stating facts here. Yes, you can't get individual sections with ensembles; but orchestrating for individual sections is very time-consuming and a lot of meticulous effort. Professional composers know this and compromise to what gets the job done in a timely manner with the best sound unless they're doing their magnum opus soundtracks where they have time to get all of that proper writing together. I used to think proper sectional arranging was the only way to go when I was younger; now I pretty much exclusively mix Metropolis Ark, Albion ONE, and CS2 (as well as some Embertone solos). I work pretty fast now. My music isn't super well "performed", but it sounds dazzling enough to a layperson for marketing purposes. On an actual gig, I'll spend the time expanding the orchestration and doing everything manual. Angel is of course welcome to dive into a FULL set of orchestral samples with breadth and depth, and that's why I also gave recommendations for those. @AngelCityOutlaw Your CineBrass + CS2 combo is great. If you have money, like Neifion said, Mural is much better strings (big orchestra strings) and Sable (small chamber, intimate strings). CineWinds being improved recently, I think it'll also be a good part of that lineup, though if you have the budget, Berlin Woodwinds is probably a better investment.