Meteo Xavier

It's Sunday. Do you need that much time?

Also,

It gives me great personal satisfaction to personally remind the community that I cannot be killed by conventional weaponry, and that I wholly plan to survive another year! More failed submissions! More joining projects I can never commit to! More misunderstandings! More wine! Less women! HAHAHAHA! I wish I could drink your tears, OCR! HAHAHAHA! Actually, the weekend was a bit of a bust. I spent the whole time sick and I was almost arrested (again) because I went to the market at the foot of the hill to by medicine and the store people thought I was being a smartass and tried to get me evicted from the cabin I was staying at. I couldn't remember if these were the same store-keepers that had pulled guns on tourists in overreaction before, so I didn't pursue that one.

I know, I just didn't want to sound rude by saying "Well, as you can see, a 16bit arrangement isn't any better so your point it kinda moot." I really don't see why the number of synths being small in that particular track is such a weird thing for everyone.

I'm going with Luke on this one. I like the track and I don't care what aaaaaaaaaaaaaanyone thinks about it. I'm totally going to remix this track too.

It's a bit early to make this call, there's only been this one in-game track (at least I haven't found any other ones yet) so far. Also, here you go. http://www.youtube.com/watch?v=WNRgc_odvaI&annotation_id=annotation_164106&feature=iv.

See if this still works. http://www.youtube.com/redirect?username=RecFreeMedia&q=http%3A%2F%2Fwww.filefactory.com%2Ffile%2Fa18gcfb%2Fn%2Fthe_ultimate_megadrive_soundfont.zip&video_id=M-6ulun8epM&event=url_redirect&url_redirect=True&usg=3xeJiivmWXWwjNUekvj3BQRoZP0= This has a lot of stuff from the Sonic games I believe. I just got it from a different source and haven't tried too much of it out yet, but give it a shot.

Now we're talking. But do I have to cut frequencies in the reverb too so they don't get muddied? I couldn't never really figure out how to control reverb like I want to, I always end up making them to washy and muddy.

Ok, well what are those right settings? That's my question. I know about performance, I'm not asking about that, I'm asking how I can get that warm, aural tone like the videos present through reverb and EQ, if I have to EQ at all. What frequencies do I have to cut? How long do I keep the release for? How big is the room size, etc.

If I could hook my piano up to my computer, I wouldn't have made this topic in the first place. And I have a sort of example of playing with it, and I would've posted it except I can't find it.

I didn't mind the faux-chiptune set of the track at all. I actually think it added a unique texture of it trying too hard to sound lo-fi. It kinda reminds me of that Erasure cover of Buddy Holly.

What are you talking about? You set me up for disappointment but it actually sounds pretty damn good without using the actual FM synthesis of the Megadrive. Could use a little more energy sure, but this is a damn catchy tune. EDIT: Ninja'd by Coop. Again. Story of my life.

Good Lord. That man's catalog is a series of volumes on how to do instrumental hip-hop right. I'm sorry to hear that.

I have East West Pianos Gold now and I'm enjoying practicing with it, but I still seem to get really bad mechanical sounding tones and thick middles with no spark of intimacy in any of it. The kind of piano tones I want to use and compose with are these: http://www.youtube.com/watch?v=74L8DNsQFB8&feature=related http://www.youtube.com/watch?v=nqHHW_eg9HI http://www.youtube.com/watch?v=vMkm5dVO9I8&feature=related http://www.youtube.com/watch?v=kZIHqhL2vxA I'm just wondering how you need to EQ and reverb your piano to get that warm, balanced and sometimes aural tone so I can do more intimate piano settings. I keep hitting it every once in a while, but I never seem to remember the right way to do it and its hours of going back and forth to get it without it working. I understand piano is very delicate to replicate, I'm just looking for the right ways to get it so I can do it delicately.

That certainly sounds a lot better than some of the jobs I have gotten before.

I want to add a couple comments in here. Although you shouldn't compose in a vacuum, it would be awesome if you created and "perfected" (in quotations for a reason) something that you could really show off. Zircon helped me finish something last month that I'm going to post on Ocremix here soon, and I've been in talks to two project leaders this week alone about doing some game work again after using it as a reference point. I don't know if I can speak for all trudgling composers, but just getting in talks with people can be an accomplishment in and of itself. I'll also add that even though you can't expect perfection out of yourself, the people you work for might. Even the most rank amateur looking for music work might expect things out of you that are simply unreasonable, or beyond your grasp. If that happens, do what you can and call it good. Don't do like I did and take it way too personally and use that burn out to torch every damn bridge like a crazy man. That will set a dangerous precedent where you got developers laughing at you and possibly telling other people about it too. A bad reputation will circumcise your dreams before you ever got to see how big they could get.

How much control are you wanting to exert over creativity? As in, are you waiting for someone to come up with something that "just clicks", like 2 of my last jobs were (that I didn't even get to finish as a result and wasted much of my time and energy), or are you more willing to let the artist art? I'm interested in contributing, but I'd need to gauge that first. Additionally, I don't have the software I would need to do anything hardcore right now, but I have some stuff you can look at so you can gauge if I would fit into your project. www.myspace.com/esperssubmission - very recent www.youtube.com/meteoxavier - many of these are old samples and I've improved since then, but you'll get the general idea.

That article was incredible. Had to wonder how much of that would ever apply to me since I can't get started in any way, but yeah, I love that kind of indepth stuff. Is there more like that at GDC?

Could you go into further detail here? I've had some pretty rotten experiences in what few jobs I could get doing music where I felt like the guy I was working for was forcing me out or had unreasonable expectations out of me, and I'd like to be able to tell the difference.

I mostly wonder about the workload. Just doing the music alone is a full-time, 30-40 hour a week job, what does the rest of that add on to it?

That list makes me want to quit.

You'd be shocked to learn some of the things you're expected to do on even the smallest music job. I still am.