Meteo Xavier

Are there new allegations against Soule? If not, I'm not sure how it's only now come to your attention. The news about Nathalie Lawhead* was back in 2019. * - As far as I know, I'm not related to Nathalie Lawhead. I did email her to ask if she knew any family relationship between us and never got a response.

My AKG K240s cans are soon to wear out after more than a decade of being probably the most important tool to my music development short of FL Studio 11 itself. It will be time between now and 2021 to replace them and I'm wondering what modern cans you folks are using for mixing at the proper (or "flat") signal frequencies and high quality audio playback in this era. Budget could be as high as $300.00. Doesn't HAVE to be a 2020 model of anything, I just want to get something a lot more modern than my previous model was at 12 years old at least. What recs do you folks have?

I agree, it sounds like some kind of fizzy saw or maybe even a wavetable thing that's really high up, doing a simple 1, -5, -12 arp and having some filter modulated on it so that only the first note sounds really "fizzy". I feel like I've heard this sound in z3ta+2 and Synth 1 (though obviously that's not what he used here).

I have to tender my resignation on this project, to no small amount of personal disappointment and chagrin. I wrote it on over to Rexy first and now I'm writing it publicly. The conflict is all on my end - when I first joined up to try to help push this sucker out and today is the difference between World of Balance and World of Ruin, to put it in Final Fantasy VI terms. I wasn't exactly Spring Chicken at that time in terms of vitality and work availability, but I could do it. Then I had a medium-sized relapse into (depression-related) depersonalization in August, then me and my family's world got pretty damn well upended just before Christmas 2019, then we had snow and floods in February just before COVID-19 hit, THEN COVID-19 hit the planet, THEN my dad announced he has throat cancer. Now my Mom just started having an episode of anxiety-related something that is similar to the depersonalization and I have to be helping her with that. Of those items, only the flood and snow has actually cleared up, the rest is still present. As a result, my administrative performance so far has been well below what I would personally find acceptable and it's pretty plain to see that I'm not currently fit to tackle the role. I don't have as much invested in this project as I did SD3 (err, "Trials Of Mana" now, fucking Square-Penis...) so powering through it isn't really justified this time around. Sorry to bring a downer to this album's projection, but I'm at "unarmed Jubei Kibagami in Ninja Scroll" stage on this end. Best of luck, or whatever we have going on for statistical chance in 2020 right now, for following this album forward!

By now, I'm sort of curious to see if my orchestral production skill could pull off my own proper rendering of the original MIDI. I wouldn't submit it here, I'd just do it to see if I could. I don't have any more notes here other than I would hope listeners could hear the Addams Family and Dracula: Dead And Loving It waltzes in this here arrangement. That would be exquisite. Also, related but not totally relevant, I only just yesterday learned that Jimmy Workman, who played Pugsley in the Raul Julia Addams Family movies is Ariel Winter's (ABC's Modern Family) brother. I pride myself on knowing obscure movie connection shit like that and I never knew that. They're actually estranged on family drama, but Ariel Winter had/continues to have a much better relationship with her on-screen asian cousin played by Aubrey Anderson-Emmons, for whom I personally shot photography for as her dad, Kent Emmons, is a client of ours at work (somehow). I had this A-list child actress hold a door open for me while I moved camera stuff. They've both even been to my MOM'S HOUSE from which I was raised from the age of 8. So I got that weird 3-degrees-from-Jeff Lawhead thing going for me there, too. I'm telling you this because I'm old and insane and I want my story told - in tiny fragments spread across vast corners of the internet for future Branch Lawheadians to piece together slowly over the course of 90 years - before I'm dead and reincarnated as someone's nipple polyp.

Oooh, that looks goooood.

I've got too much work as it is, but I'm addicted to inquiring further anyway. Any chance you or your composer have any .mid files of these compositions or could rig up the main meat of the non-rhythmic content in the tracks? It would make remixing (for myself and for others) a hell of a lot easier and cut down on time.

Not even close to the best luck ever. I'm not going to go into details, but like everything else in my orbit, it's a lot more complicated, dramatic and pretty much impossible to communicate correctly to others than normal things of its type and trying to elucidate it to others just gives them the wrong idea and impression of what's really going on. For all intents and purposes, it's more like I'm widowed than divorced, except I use Gmail to talk to her instead of a ouija board.

Major clinical depression, insomnia, divorce, dead kid I use for "social currency" whatever that is, misanthrope, vulgarity, projects that just refuse to ever get finished no matter what happens and my dad has cancer. So pretty much the same as it's ever been before COVID-19 except for that last one.

Hi there. For years I have had a small SFC/SNES group called SFCaliber and for years I have wanted to release some SFC/SNES original music under that brand. I think I'm finally in a position to do so, so I'd like to make a call out to any one who has does any original compositions with SFC/SNES instruments to PM me about inclusion into a compilation release. Details: * It's a FREE album, so there is no payment or money exchange of any kind. It's purely for the art and fun of it. I won't be monetizing anything or having ads or backend financing either. For that reason, I am largely asking for tracks anyone has already done and finished so that I'm not asking for free work/effort that hasn't already been done. * Preference towards really "meaty" content - not just 45 second Final Fantasy battle or Super Mario World stage BGM knockoffs. Tracks more than 2:30 in length with some real compositional content and identity is what I'm looking for. They CAN be video-game sounding tracks that loop twice or whatever, but they need to be pretty interesting and long all the same. * Tracks that are 95% or more made up of SNES instruments only, please. Not really interested in hybrids between SNES samples and other chip sounds or commercial samples. Super Audio Cart is fine. * It will be released on my Bandcamp page for free with information specifically crediting each artist for their tracks. I think that's all I have to write on that for now. Please PM me if interested. Thank you!

Hey pisanos. If you ever wanted the guy who was a Sergeant in Vietnam and then a lawyer and THEN scored half of the most memorable and politically incorrect FPS classics of the 90s to teach you how to play a tiny four-string guitar, your wet dream has come true. I'm not personally affiliated with this, I just thought it would be a cool thing to post that no one else was going to post. Going to be this coming Sunday at 3:00PM EST.

I know phat beats, I've heard of phat asses (and FROM them as well, ew), but phat GAMES is a new one on me. What sort of thing is that?

Based on the timeline and the amateurish (though still respectable) production on it - my thoughts are that this is not on an album or by a professional artist (at that time anyway) and that clues for it may be found in any archives for Newgrounds or even http://archive.rpgamer.com/music/archive/ Though I'm already on the RPGamer site and do not find such music present.

For anyone who might be interested, The Blind Prophet has been released for Steam and GOG, and other markets like Switch and PS4 consoles to follow, I think. I did the majority of the soundtrack and the 3rd game I've worked on to actually get released. This is a highly visual and artist-driven project using point'n'click adventuring for a 6-8 hour story that goes into some seriously dark and gritty territory. Although I myself am not fully versed on the story or progression (I wouldn't have had time to get into it over the last year), it combines elements of SIN CITY, Boondock Saints, John Constantine and similar as its modus personae. I combined quite a lot of genre elements for my work on the soundtrack including: * Gothic church organ * Heavy, dark, Motoi Sakuraba-style orchestral * Downtempo Trip-Hop * Minimalist Techno * Resident Evil-style dark ambient * Resident Evil-style minimalist score material with more conventional composition and arrangement. * Chrono Cross-style emotional score for one track. * NIN-style Industrial * A parody of Pink Floyd's "Money" that then turns into a much more subtle parody of Steve Hackett's "The Ballad of The Decomposing Man". * One song from my Saturn Icarus album that was licensed/used as a minigame track because it was fun, unexpected, and I ran out of time to produce a brand new track. :P I don't have the soundtrack compiled together as a release yet, I just want to promote the game itself for now. If this kind of thing appeals to you, please visit https://store.steampowered.com/app/968370/The_Blind_Prophet/ and https://www.gog.com/game/the_blind_prophet.

The tracks I was given should have been shared by now. If not, I'll make them available again as I hadn't deleted any. The essential sources thing was something I thought up quite a bit of time ago and I'm prepared to do that as well when availability presents itself again. Best estimate right now is within the next several days.

By announcing that I'm finally back into something close to a "clear" from the last time I've updated, I expect a tree to fall and bisect my house or my septic tank to explode or a stroke to permanently paralyze my entire left side within a week's time as Fate punishes me for choosing to do something art-related like it always does. But that being said, I'm sticking it to Fate and saying I'm in something close to a "clear" and I will be back to active administration work on this project again.

Forums as they have existed in the last decade and more are not on their way out. KVR, GBATemp and even Gamefaqs are still very, very active and I hardly think that is the issue for OCR's lack of engagement. The lack of engagement is here because: 1. Most of the really engaged talent from OCR's history has discovered they don't have to do music for free to get somewhere with their music anymore and thusly don't bother visiting the forums because their friends have moved on as well. 2. The engaged talent that still visits are all old, have kids, diseases and other shit that entropy takes from us all eventually. 3. The other "old guard" still here is less engaged simply because they've been here for 15+ years and no entity would have that same engagement to them for that long. 4. Combining 2 and 3 means that the lifeblood of OCR is moving slower than ever. Remixes, judging, projects and even updates are slower than ever because the only people that have the ins and competence to handle them are 40 years old and have two or three kids and a mortgage on top of a job as well. 5. Youtube and other stuff like it have proven that remixes do not need wait times and judging to get music published and get watches and fans. Even some shitty soundfont "remaster" of video game music can get as many views as the newest remix posted here every other day or so. The "badge" of being of Ocremixer doesn't carry the weight it used to, which is it's own fault because it did such a great job of making others want to become video game music remixers in the first place. It's almost "Seinfeld is Unfunny" from Tvtropes in play here. It's a symptom of the wider problems going on with game music in general on the internet - more stuff becomes available to more people, so the talent pool becomes diluted and spread out. Supply grew exponentially, but not demand. The subject and the nature of the subject itself has fallen behind. And while this was all going on, OCR's answer to it has been very Nintendoan - announcing things like "We're moving X in this direction" when all the entities getting engagement has done that 5-7 years ago. And what did all that incredibly delayed pronouncing get us? Uhhh... removing signatures? Ok? I want to compare it to the Gamecube as if the Gamecube came out and only had two players instead of four and not using memory cards so gamers would have to go back to using passwords for things. I think if OCR wanted to really jump into the 2020 decade, it would probably drop music altogether and rebrand itself as an eSports and game streaming entity of sorts. Game music in general isn't what it was 20 years ago, OCR is definitely affected by that.

Sentiment concur'd. It's like, what, did you think that wasn't going to happen? What planet do you live on? Annnnnnnnnnnnnnnnnnnnnnnnnnnd here comes that new warning point...

It seems it could do the job I want it to do. The sale is on until after the first week of December (I had to email someone there to get that info) so I got some time to decide.

Highly effective at what, though? I know how to listen to tracks, but with the advent of a lot of new "smart" and AI-based tech for plugins, I'm just not willing to put that much time in that stuff anymore. If it's going to be another thing I have to fuss with for hours to get something passable, I'm not going to bother.

Both an announcement and a question: https://www.pluginboutique.com/product/2-Effects/52-Mastering-Suite/3819-Ozone-8-Standard The former was the announcement. Here is my question. I'm an old man now and I still have a lot of personal audio projects to do. I never wanted to learn anything about mastering as I wanted to trust others and their non-biased ears to make that call, but something like this being $50.00 tempts me and the fact of the matter is that I don't know how much outsourcing mastering I can really afford for the foreseeable future. Time has not been good to me and I want to virtually shit out material for the next little while to get caught up. Has anyone used Ozone 8 and how easy would it be for someone like me who has never done mastering or wanted to learn it would be able to make use of it? Bluntly, I want to know if I can get at least a passable mastering for songs and albums by just clicking a few things, adjusting a few things and calling it good. Yes, I'm intentionally looking for a quick, lazy option here because all the rest of the time I want to pour over it goes into mixing and arrangement. I'm not a young man anymore, I'm extremely clinically depressed and officially mentally ill now, I'm past the point of caring whether everything I do sounds like it came out of a professional studio. If something like this can snap consistency together and get a passable sounding mastering in 30 minutes or so, I'd like to get it. Thank you!

I had posted a previous version of Saturn Icarus here a long time ago. This version is the full release with additional tracks, additional work on some tracks, and full mastering provided by TOKEE. Saturn Icarus Liner Notes and Credits TRACK 1 - I Become The Machine (Technoverture) TRACK 2 - Rarewhere - (OS Boot Menu - Rev. 17.8.104B) TRACK 3 - Aladdin Continent - (Vector City Skyline) TRACK 4 - Deincarnation - (Cybercop Bust Gone Wrong) TRACK 5 - Comfortably Dumb - (Virtua Gangs Rule The Future Streets) TRACK 6 - Run, Logan, Run! (Android Abomination) TRACK 7 - Almost In The Shell (After Hours At The Neuro Lounge) TRACK 8 - Death and Syntaxes (Infiltrating The City Underground) TRACK 9 - Atlas Lunged - (Forced To Fight In The Mutant Wrestling Ring) TRACK 10 - Neon Tolstoy - (Megacorp Declares War, And I Bring Them War) TRACK 11 - Zoso's Bizarre Advertising Venture (The Back Alley Parts Shop) TRACK 12 - Shower The People You Love With Blood (Final Assault On The Grid Headquarters) TRACK 13 - Psycho Mass - (The Ultimate Showdown With The Omega Brain) TRACK 14 - Appetite For Reconstruction (The Sun Rises Over The Metropolis) TRACK 15 - The Machine Becomes Me (Acceptance, The Destiny In Disguise, Credits) Notes: Wow, this production was a hell of a ride. It was originally done for an old-school FPS throwback called SATURN ICARUS (https://gamejolt.com/games/saturn-icarus-work-in-progress/149262) and 12 tracks were produced for it. I got paid for the commission (!) but to date, the game is under indefinite hiatus and I don't know what, if anything, may happen to it from there. So with the original creator's permission, I have taken the album, along with some other tracks I had done for other things that never got used, and I made a full Synthwave/Hybrid album out of it. Each track is extremely different from one another and features anything and everything I wanted in it - synths, drum and bass, synths, orchestra, synths, operatic choir, synths, trance, synths, Japanese taiko, synths, metal guitar and, oh yeah, synths. A lot of different sounds and genres used here, but synthwave and 80s sounds form the foundation. I consider this my "Passion" album - inspired directly after Peter Gabriel's "Passion" album which was a soundtrack for Martin Scorscese's "The Last Temptation of Christ" that he went back and did more work on before releasing it as an album. I did the same here. It is available for $5.00 total on Bandcamp and other markets that follow a listing on CDBaby. Thank you and enjoy! Music by 12 Followers/Meteo Xavier. Premade loops and construction kits were used in this production for inspiration and convenience. Mixing by 12 Followers/Meteo Xavier. Mastering by TOKEE. Cover Artwork: Original Illustration by Devine Lu Linvega as it appears on runyourjewels.com. Edited by Meteo Xavier. Used with permission by Devine Lu Linvega. Copyright 12 Followers/Meteo Xavier and 12MX Media, October 2019. Licensed to Mischa for whatever he wants to use it for.

Depression/depersonalization lingers, but I'm making progress in recovery all the same. Some things in my professional (i.e. that which makes money) music world has shifted up some - two long-standing other commissioned work I started on long ago is finished and a third is pretty close to wrapping up (which is good, because the game release date is coming up sooner than I expected. Yikes), which is pretty good for me considering the last two months on my end. I will please ask that you allow me to release the first two music items here in the immediate timeframe as it will, in the long-run, clear my plate off some and allow me to recover the energy needed to back to this one. Thank you for allowing me some breathing room here. I'll have a new status report after a while here.

While I'd had worse Septembers than this, it's not been good. The stress of it got so bad that it fully undid the depression progress I'd made since the second week of August. I spent various parts of the last 8 days unable to sleep and almost paralyzed with fears that can't be rationalized away. I have a moment of clarity now, so before the fear starts back up, I'll give a small update. I had been talking concepts and ideas with Rexy. I'd not gotten as many .WAVs from people as I would've hoped, so I do think we might have to redo some key tracks. I'm personally not wanting to do a whole full soundtrack arrangement, but a sense of balance has to be brought to it, so I will talk with Rexy on how best to achieve it. I'd also been trying to get some ideas for project artwork. I had a great idea, but it turns out to be derivative. I'm not too picky on what the artwork should be for the cover, just needs to look good and make sense with reconciling the themes of the game. Sorry it's not a more positive update, shit's been reaaaaaaaaaaaaaaaaaaalllllllllllllllllllllllly fucked on my end as usual. As sanity returns to me, I'll try to get more done on it.

Nothing is eternal and this really doesn't fit in Community anyway.