Majiffy

*Fanbase you need to tour, sorry.

1) Don't count out being a studio musician; they make pretty decent money (and by that, I mean more than a touring unsigned band as a whole) yearly. 2) Internet, man. Other than live shows - which is, unfortunately, where you'll make most of your money - it is INCREDIBLY easy to collaborate and record with artists all around the WORLD. Once you get the fanbase you need to record, then you ship them all over to wherever you are (or go where they are) and fucking play some shows. Dig? Message me if you have any questions. I can try to guide/help you out.

http://www.sweetwater.com/store/detail/EIEPro?utm_source=none&utm_medium=PPC&utm_campaign=none&gclid=COihkueXwLACFYFo4AodExy_YA Anyone used it (or any other Akai interfaces) before? Thinking of picking one up in the near(ish) future.

Yeah yeah I have a tendency to drunk post on the internet. Thanks.

Do you read what I wrote? There are physically more avenues as we have the ability to create new digital plugins that alter audio in entirely new ways - ways that were likely impossible to physically achieve with analog equipment.

Whole moving scenario got FUBAR so I won't have the time to do this, sorry.

Ain't that the damned truth. I'm still working on my own personal (albeit, transportable) studio, and I'm looking at a grand total of no more than 2 grand. 4 mic preamps with phantom, ~6 mics, and a lot of isolating foam.

Optimal level for monitors? Depends on your use... For listening purposes, it can range anywhere between 60-80 dBFS (depending on your ability to hear and your hearing sensitivity) or in a playback/venue setting where you're going to lean towards 110 dBFS. That being said, there really is no "right" answer to what level you want to set your monitors at. Very often, engineers will drop it down to zero and bring it up slowly to see how everything they've mixed comes in properly, or from the other end, start off loud and bring it down to see how the characteristics change. Essentially, it's something you need to figure out yourself. Sorry!

Thank you. First off, it's a lot cheaper and more accessible. That means, comparing a digital world to an analog world, more people have the means to explore creatively. That alone is a strong argument against this statement. Furthermore, we have the ability to code in whatever can be imagined as a plugin, which gives us a hell of a lot easier path to brand new sounds and experimentation. A lot of innovative changes in music in the analog era were by mistake, which makes new findings rare by definition. With intention comes a possibility for greatly increased expansion. So yes, digital offers a lot more creative directions over analog. So true. God, that would save so much time when you have to deal with the perfectionists...

A++ would read again.

I just bring up vinyl because it's the most commonly referred to analog medium. Tape itself has hiss, and frankly, any unintended noise in audio is bad noise.

July 1st is a bit tight given my current in-between-locations situation, but I'll try to shoot off a Kirby's Dreamland WIP track to you by then.

's all good.

Oh, looks like I'm too late. Oh well.

These tracks may appeal to your ominous/dark/lonely/ambient categories, with respect to individual parts of each track. These songs were all composed essentially improvisationally, part-by-part. So basically, it would not be hard to create new sonic environments for your game as long as I know the mood I'm going for in each part. Apologies for the clicks/pops in the older tracks, I was working with a fried sound card at the time.