Meteo Xavier

No, there is, that's what the mastering phase of audio does. Most consumer devices don't give all their frequencies out when they play audio because that requires heavier, more expensive stuff inside the device to do, so they typically only focus on getting the mid/high frequencies out because that's what people are really trying to hear in the first place. Most people are not in-depth music/audiophiles and don't need to hear all the frequencies - it's a cost-cutting measure and that's why your laptop and consumer speakers typically don't come equipped with it, and why you've been hearing as you have. You CAN potentially teach yourself how to do this and it does start with relative perception, it'll just be a journey like everything else worth doing. I never learned mastering because after learning all I know on composition, production and mixing, it just wasn't worth it to me. Get you some AKG K-headphones and see if you can take some mastering or audio production courses somewhere and you'll be amazed how well you can accomplish this obstacle.

Sounds good, but I don't get how this is all laid out. I don't recognize most of those songs... then they have a little block that are just the boss songs? Curious to say the least.

Is there a consistent and objective authority on how loud an audio track should be? A little bit YES and NO. There's a whole world of debate on this subject (Google "Loudness Wars", just as an example) and is a very prominent audio subject for the absolute audio production masters to bring to the forefront of attention. You can get to a consistent standard of loudness based on numbers if you like, but there isn't really a universal standard that applies to audio production all throughout the world. You can build that consistency yourself, you can find an experienced audio professional to ask on that (maybe slip'm a few bucks to loosen their lips), or just pay a mastering engineer to handle it and use THAT as the example to go for. That's not a very concrete answer. Think of it like schools of martial arts. You can make up your own fighting style out of scratch, you can study under a strict discipline, you can do something in between and still potentially learn how to fight effectively, but there's no universal perfect answer for the question of how to learn martial arts. What I do is set my audio computer's standard volume at 61. THAT is the audio level that my personal taste and experience says is the perfect spot there. If the audio track I'm working on sounds too loud at 61, then I turn the entire track way down. If it's not loud enough at 61, I turn the whole track way up. But then, if I'm ready to publish the song or album, I do hire out for a mastering engineer to take care of it because I don't do mastering and just trust that they know what they're doing.

In principle, I don't really agree with that. That's a disgusting level of computer-tech porn that probably wouldn't be standard for another 15 years at least. It makes me think of Serial Experiments Lain's flooded bedroom, or a guy so loaded up steroids that he's about to explode. The bigger and more stuff you have attached to it, the more complications it has room to accrue and still create issues like this - or such is my experience. Good you figured out the issue but whooooooooooooooa holy shit dude damn. As for the Shreddage thing - maybe that could've been an issue in the registry? I've heard that's where Kontakt keeps its data on whether your product is locked in demo mode or unlocked in paid mode. I can't offer much help other than a possible clue there. I've not heard of Shreddage or any other Kontakt instrument having an issue like that before, but then again I haven't used an Impact Soundworks instrument since March and am on a personal boycott of that brand of Kontakt libraries, so I likely wouldn't run into that issue myself to get to know more about it either.

Well, like I said, I don't have anything dire at THIS moment, but there's a Hiroyuki Sawano song I'd probably like to rearrange that I'd need help in figuring out. Not the entire thing, just the basic essentials of the composition. I don't know what the going rate for that is. Without it being something that profits me in any way, I probably would hit it at around $35 for what I'd need to get from it or other songs (I don't often need the entire arrangement all placed out), but I also don't really enjoy lowballing either.

Found this on https://www.sonicstadium.org/2018/07/sonic-mania-cheat-codes-discovered/. Figured it was worth sharing.

I don't have the version you have, but I've had FL Studio do this or something similar to this to me a few times in the past. It's either been a conflict with the VST itself (just something in the program, computer and VST all combined together causes it) or FL Studio being buggy. The option for the latter is just to restart FL Studio and try again, the former requires isolating that it's the VST or something more pinpoint (samples chosen, some option flipped on, etc.) to see what's causing it. Sometimes programs, operating systems, computer components and so on come into a weird conflict and just don't work. This laptop I'm on right now has a weird problem where if I'm cutting videos with Windows Movie Maker, if there's a video with a certain codec in it (and I haven't been able to determine which one), even if it allows me to import it in, cut it and start saving it, it will completely restart the computer RIGHT as it finishes. Sometimes I get a complete video after restarting, sometimes I just get a giant .tmp file. I've never had this happen anywhere else and the only thing to say about it is "well, these things just don't like each other." Keep testing it and retesting it to see if you can isolate the variables that cause it, and then you'll be able to Google it from there or take it to Image Line's support team.

Umm... sometimes such things show up in the recruit and collaborate topic, but if you came here looking for a job to pay bills, you definitely did not come to the right place. In fact, the only places I know of that even have game music gigs are already stuffed with thousands of other composers who watch for those openings like a hawk and swoop down as soon as they are posted. Kind of a depressing sight, really. Though, I'll give you this, someone who can transcribe music by ear to a .mid file or something is definitely a service I'd be personally interested in paying some money for. I don't have a need for that right this moment, but that's one of the few music skills I haven't been able to pick up and people aren't making .mids of modern VGM anymore. I'd definitely want to know some rates and bookmark a website or something if you've got it.

I mean this to be a legit question and not patronizing or derogative in any way, but when you use the present tense... do you still have the program on at the moment? Like, does it still do that after you quit the program and reboot it back up, or is that instance of FL Studio still up and on your computer?

The dynamic of discovering prototypes not already easily available to the general public is self-explanatory in that its value is 96% academic and curiosity. However, in this case there is a slightly higher chance that going through these archival curios could yield results better than "well, yeah, that's a neat find". I've played some prototype ROMs in my day and I can say there were quite a few that were worth the effort, bugs and weird shit and all. Further, discovering these prototypes could lead to some cool developments in the aftermarket/rom hacking scene in time to come and I'm a big, big fan of that shit. The PSP is probably the most incredible handheld I've ever owned, beating out the original Gameboy in everything but its lasting effect and legacy, and even more coming out of it in time to come is an incredible potential.

Which includes me. Evidently someone found a whole big box of PSP game betas that number more than 100 and plans to rip them with a PSP system and then post them online for the interested to share. I won't post any links to warez, romz or anything else than ends in a "z", but it'll be cool stuff that gives us a look at curios or even get the chance to play a retail game a different way. These games include: Metal Gear Acid Dragon Ball Tenkaichi Tag Team BlazBlue Persona 3 Portable Guilty Gear XX Core Plus Final Fantasy crisis core VII Castlevania The Dracula X Chronicles Final Fantasy II Full Metal Alchemist Naruto Shippuden: Ultimate Ninja Impact My source is here.

I want to say Deia (DragonAvenger) or Andrew (OA) might be the folks to talk to about custom shirts, but I could be wrong. I have an internal bell ringing those names up on the subject.

I've also seen it and it's still the most perverse, infernal... you ever see "Event Horizon"? The scene where they unscramble the video footage and watch it? Yeah, this is that video footage committed to music paper. I want to shut my eyes to block out the horror, but I'm afraid I'll turn into a pillar of salt if I do so.

Hi-TECCCCCCHnical.

If you're just looking to get experience in music scoring, just Google around for Game Development boards and Game Development Engines (GameMaker, RPGMaker, Unity, etc.), post that you're wanting to do some work for free and see what you can get out of it. Word of warning that these boards are depressingly filled to overflow with lots of other composers willing to bite off their own wiener if they thought it would get them hired and even trying to work for free is kinda hard to come by (be prepared to see a lot of SAM FOSTER threads), but then again there are some occasional posts by others looking for composers as long as they don't have to pay them. You'll just need to go and look. And don't get suckered into the "I need connections to be successful!" bullshit. That's just a quarter-truth told by other composers so they can look like they're awesome for giving you advice without it actually dampening their own chances of getting more work. You don't get hired because someone knew you and happened to have your contact info handy when they were talking to someone else, you get hired because you have the skills that impresses people enough to say, "Man, you should go check out that Daniel Caton guy and see if he's not tied up right now." Quality of craft is always the first priority.

To actually have creativity itself cause anxiety is a new one for me. I've not heard of that before. I'll skip the overlong response that is at least 30% explaining about ME than the actual problem and just suggest that the only real way to conquer it is to go through it. Face the anxiety head on, start with small creative projects, release them, learn from them in a detached way (like thinking of them as experiments designed to yield data) and work on it little by little until experience begins to trump anxiety.

Sending .WAV files would be extraordinarily pointless. Their packaging into Kontakt or Soundfont files is such an efficient improvement over just having the .WAV files that you're going to be hardpressed to find them online, much less have someone here email them to you. It's the difference between watching a movie on a screen and watching a movie by pulling out the film reel and looking at it frame-by-excruciating frame. If you absolutely need the .WAVs, there are tools that extract them from ROMs, I think SNESTOOL used to do it. Otherwise use WilliamKage's site above.

It seems that people don't really leave Ocremix, they just keep stalking around until someone makes a reunion thread. I've seen this phenomenon in other places I've frequented. I'd like to study it some more.

It wasn't just a clever name, after all.

Yeah, it's an improvement.

That's because you lack imagination and spherical-shaped testes, jub-jub. Both are required to master the art of the title.

That was indeed an intentional reference.

I'm not reading all that crap just to suggest a name. You will call it "The Solipsistic Ineloquent Buttballs of Prof. Mrs. Hieronymous Beaverwipe, The 13th Duchess of Neo-Gloucester".

I'm not going to do point-by-point responses here - it's exhaustive and the time spent doing it doesn't amount to anything (some of this shit gets REALLY long). If you're better off thinking sacrifices are not required to be made for freelancer success, than that's exactly what you should have in your mindset to keep going. One good thing that the subjective intangibility of the art scene is that a good mentality, even if its motivated by theoretical/academic nonsense, is better than having a poor mentality that is precisely correct. Nothing, and I do mean nothing, guarantees music success better than to simply keep going, so that's what you'd prefer to think on it, more power to it. Even if it wasn't beneficial to have a good mentality on it no matter what, I still don't have too much a vested interest to change your mind on it - composers who are too stubborn to get around the difficulties of finding work with creative risk miss out on opportunities that composers like me get to potentially clean up on. They lose, I win. I'll have a new subject here soon when my availability next allows.

All dues have to be paid at some point, they just aren't equal in consistent in who or how much does what. Sometimes it happens in the form of someone who struggled for 20 years and finally got their break into success, sometimes success comes immediately with the price of failing each time afterwards (and subsequent drug habits, downward spirals, etc.), sometimes it's eating nothing but ramen noodles for 3 years, sometimes it's doing it while one of hundreds of other precedents and scenarios play out - either way, all success has a price and it gets paid one way or another. If freelance composers want to believe they have the same business model and social importance as a restaurant, plumber, lawyer or something like it, that's their business and I hope it works out for them, but I expect composers who call themselves "professionals" to have a really, really good understanding of what they're trying to undertake and how sickeningly overstuffed in supply versus demand the freelance composer market is. Instead, what I see are thousands and thousands of unproven, no-name musicians who want AAA recognition and AAA money doing the same music as everyone else, conforming every aspect of their artistic identity down to what they think producers will want instead of doing much to stand out, and focus their entire advertising plan on going to GameDev websites and posting "Hi, does anyone need a composer?" Then when they don't get the jobs and money that proven, known composers get, they shift the blame of not being able to afford their $2,500 a month townhouse in San Francisco on game music ALONE on their target employers, high schoolers and college student devs who don't already have a composer in place, not being able to afford $30,000 for a soundtrack and people who do it for fun instead of profit. They box themselves in with this thinking and stubbornly refuse to deviate even the slightest to try to risk some innovation and cleverly get AROUND their employment obstacles. They are destined to make a failure rate much higher than it could be and they have no one to blame but themselves, no matter who they put the finger at. I'll believe the validity that music composition is the same business model and infrastructure as the aforementioned businesses when I see people making and running restaurants in their spare time, or 19-year-old plumbers flooding (pun intended) forums with "Hey y'all, does anyone want free plumbing work? I'm looking to get experience and get my name out. My work is inspired by Roto-Rooter and LemKo Leak Prevention. Here's my portfolio on Toiletcloud.com!" - you know, things that generally aren't considered fun pasttimes for most normies that they would get into after work was done...