Meteo Xavier

Other than just pay for it and send them 5-6 CDs, I don't remember anything else I had to do.

I can't even start a submission until I hear back though. There's no point in me going to all the trouble to make a submission track without knowing more what the employer wants. If I want to show what I can do, I have my portfolio for that. If I want to secure a gig, I need to know what the employer actually wants.

This dude's not writing me back, so it looks like I won't need to bother with a submission entry (why do we need that in the first place? We all have portfolios I believe).

I used it when ESPERS was on Aardvark Records and apart from them using low-quality 30 second samples of the least interesting 30 seconds of the tracks, I have zero to complain about. They were pretty good. Kinda wish I was still on it.

I'll be the dissenter and say the degree probably matters more, because right now the game composing "industry" is filled to the brim with spirited amateurs who didn't do much else than buy Fl Studio and EWQLSO and study MIDIs and forums to get their business started. Anyone can make a portfolio, just put together 20 ultra-generic, Final Fantasy type tracks on a soundcloud and call yourself Uematsu. A guy who posts saying he wants to hire a game composer will get 150 portfolios to sift through in a day's worth of time, and any serious game maker knows what kinds of applicants he's getting. Most of these people are kids under 25 with real jobs and real lives, this game thing is basically just a hobby to them, and the guy knows it. But a degree shows that you put some serious time and effort into doing it for real. You can't just get a degree, you have to earn one, and it shows you want to do music full time. Full time musicians have actual time to do music the way they want it, and since they make the prices*, they want someone who will do more for the same price. On paper, and logically, getting a degree is better, since you will likely already have a portfolio to start with. The honest answer is that neither is actually that useful. What actually determines if you get any kind of job doing music is luck and the complete willingness to be a puppet for your employer. The supply of music people today is 100x the demand, and most of those jobs get taken and kept. Game employers know this, and they use this to justify getting more servitude from their composers for less, if any, money. "You want your creative freedom? You don't want to start tracks over from scratch 5 times because it didn't fit my vision? Well, fuck you, I can find someone who will in 10 minutes." You're going to be better off getting your degree in IT or something. Sorry to be a downer on the subject again, but someone has to remind people the reality of being an up-and-comer in a highly sensationalized and extremely tight market. The best tools available are the same tools everyone else get nowadays and the same generic philosophical advice that sounds sagely, but is just fluff from lucky, successful musicians who couldn't give two shits if you actually succeed or not (and you can bet they wouldn't give up their seat for you). * - And yes, ask any actual working composer here and they will tell you YOU set the prices, but that's just not how it works in the real world. Unless you're a celebrity, you don't call those shots. Don't believe me? Go ahead and tell an employer you want $500 a minute and see how well that works for you.

Actually, having tested it further, it appears I'm mistaken here. It's playing like I want it to and my mistake was from something else.

I mean as the clips show up in the playlist. It used to be, pasting the same clips overtop one running would start that individual track over, but now it just bleeds the two clips together. I want this to not do that. I'll take a picture later and show you what I'm talking about if necessary. I'm kind of scared what this might do to tracks I need to re-open from 9 because that will REALLY mess some things up I fear.

I think this sums it up as well as it can go.

Anyway, some new questions. 1. Is there an option somewhere to stop clips from bleeding over one another if you paste another instance of it before the end of the clip? Example: I've got a clip with G, C, D4th, D chords playing, but I want to paste it so that the clips play G, C, G, C, G, C, D4th, D. It used to work this way beautifully in FL 9, now it just plays a cacophony. 2. Does anyone, by chance, have the installer for the Arturia MiniMoog free edition they released last year? I'm not asking for pirated warez, I got this legitimately at first and I wanted to see if I could get it again, but I doubt they'd provide it. Old questions: 1. In "Note Properties", is there a way I can adjust it so that I can have 12 or 24 points or whatever to micro-adjusting a note length as opposed to the 6 I get now? The 6 ain't doing it for me right now. 2. I notice that the "click and clone" thing between tracks seems to create some problems, like completely randomizing what tracks are under which number (Example: I have a string arpeggiation clone on Track 9, but it's labeled on Track 14, but I can't fix it in Track 14 and Track 9 is still something else, etc. etc.), plus I can't figure out when I still have a copied track loaded in my cursor and when I'm painting the sequence that's in the track it's labelled in. 3. What the fuck is this Mono-Paintbrush thing. It is extremely frustrating that it keeps moving my notes around and deleting others. I can see it being useful, but how do I fix that? I saw it somewhere... Thank you again!

Absynth is pretty useless unless you're doing ambient, IDM styles. If you ARE though...

I'm still curious why you wanted to talk to me still when you knew in advance you didn't want to hire me. I don't understand the logic there.

I still haven't heard back from you in private message. So you're open to having multiple artists on this?

I also sent an email. Time will tell.

£200-250 is actually closer to $350. Still waiting on you to get back to me from Thursday, Oct.

I'm not sure how a game retailer somehow becomes the biggest retailer and the most hated one at the same time, but while I've known of the gamer community's almost dogmatic reviled reaction to the very mention of Gamestop for quite a while, I've been seeing a rash of behavior lately that reflects poorly on gamers and kinda makes me ashamed to be one. You've seen this joke go around - "DERP here's a picture of 39 SNES games, 19 NES games, 24 N64, 38 PS1, 12 PS2, 15 Sega Saturn, Virtual Boy, gold-plated Earthbound cart, etc. etc. Bet Gamestop would only give me $0.39 for it. DERP DERP DERP!" And then someone will follow it up with. "I tried selling some PS3 games in there the other day, 5 games and they only wanted to give me $15 for it. I told the little girl behind the counter to GO FUCK HERSELF! So I went and sold them on Ebay instead. :D" Now let's stop pretending to be awesome, hardcore gamers for a moment and look at this. 1. Who the hell tries to pawn off a small fortune of vintage videogames to GAMESTOP? Do you see any of those games on their shelves? They haven't been catering to vintage gamers for YEARS now. You might as well try to trade them in at Burger King. 2. Why would you be rude to the guy or girl behind the counter? They don't run the business, they don't decide what prices to make or give, you're just being a dick to someone doing a job they probably didn't even want JUST to be a dick and call yourself a gamer. To broaden it out, I don't understand the hatred Gamestop gets in the first place. I don't do the modern era of gaming (mostly for practical reasons), so I don't do trade in with them or even go there much anymore. I've never had a bad experience with them at all, and I have a LOT of bad experiences. I really am lacking a lot of reference, so what did I miss in the last 5 years that makes Gamestop so horrible that its a mark of gamer excellence to be a dick to someone just doing their job? I don't expect to get a lot of reaction to this thread, but I really hope I'm not the only one who's been disgusted by this recently either. I've been seeing a steep decline in the dignity of being a gamer, and this kind of shit... err, I can't even finish that sentence without getting mad.

I'm surprised Chiptunes = Win hasn't appeared on OCR until now. I figured an overlap would have happened by now.

I actually find it easier to paragraph, both for the element that you CAN reasonably assume something hyper-extreme will not be enjoyed very much (that's just common sense) and also for the fact that that kind of emulation shit always takes me 10x longer to pull off than it would for anyone else. Ok, I'll try to stop splitting hairs for the sake of doing so now.

You've clearly never had advanced geometry. They literally have boobs made of calculations and it's the foundation of all science.

I don't think its so much a personal judgment of superiority of one gamer or another, the experience and joy of gaming is as individualistic as anything on Earth. No one can claim superiority to that (hell, I'm in no room to wag my finger, I built my religion on the fact that God is literally inside my SNES and acts through it - a story I have no intention of elaborating on), the criticism is instead based on the same idea that Hitler beating on a man's testicles with a sledgehammer until they turn to jelly while his nipples are hooked up via powerline to a nuclear core as he asphyxiates in a vinyl bag is somehow an arousing scenario to a select percentage of the human race, much to the bewilderment of the rest of it. It's like, yeah, whatever floats your boat, but don't think others won't be curious to the logic behind it.

I just wonder why, if someone would go to the trouble to hack into a game, they wouldn't bother first to FIX some of the problems that made it unbalanced in the first place - like how a 100% accuracy still misses 40% of the time (and vice versa with enemies) or maybe that enemies don't immediately fucking prey on characters that you JUST WENT TO THE TROUBLE TO RESURRECT. Or if not that, put some stronger weapons earlier or something.

It's not the original challenge, it's a highly upshifted challenge. I don't know how increasing the level of punishment you take from the game resembles anything of a core concept when so much of the original programming and arrangement is built around what the difficulty setting used to be.

Thank you Steve for providing an unprovoked diatribe of indeterminate intent as opposed to something useful. Back on topic, some further questions. 1. In "Note Properties", is there a way I can adjust it so that I can have 12 or 24 points or whatever to micro-adjusting a note length as opposed to the 6 I get now? The 6 ain't doing it for me right now. 2. I notice that the "click and clone" thing between tracks seems to create some problems, like completely randomizing what tracks are under which number (Example: I have a string arpeggiation clone on Track 9, but it's labeled on Track 14, but I can't fix it in Track 14 and Track 9 is still something else, etc. etc.), plus I can't figure out when I still have a copied track loaded in my cursor and when I'm painting the sequence that's in the track it's labelled in. 3. What the fuck is this Mono-Paintbrush thing. It is extremely frustrating that it keeps moving my notes around and deleting others. I can see it being useful, but how do I fix that? I saw it somewhere...

Yes, and that's why I wanted to know if anyone was selling them. I've suddenly started craving late 90s era FPS ports for the N64 and those are two titles that always seem like they're for sale somewhere...

Did anyone have a cheap Quake 64 or Duke Nukem 64 cartridge they were trying to get rid of? 3.0 completely erased the sale list.

Actually you don't even need to do that, there's a skill you get as a Squire that ups your attack or something that also boosts XP and JP, somehow, but that also requires mindnumbing patience, which might as well be just as painful as grinding against super hard enemies.