Kanthos

I highly doubt they're using general MIDI sounds; those aren't good quality compared to the non-GM presets, on any keyboard I've tried. My best guess, actually, is that they're using Omnisphere; there's just more to that sound than anything that can be done with basic oscillators, to my ear. And yes, I know what layering is; I'm fairly new to making my own synth presets, not in setting up a live keyboard rig. My current rig is two keyboards and a couple other MIDI controllers running into Ableton Live; it's quite sophisticated, but gives a good balance between having all my presets chosen for each song and having the flexibility to change sounds when the band goes in a different direction or makes a last-minute set change.

That comment does me no good whatsoever since I don't know what keyboard you're referencing Even if I knew that those were presets on, say, a Korg Triton, how would I find out what they sound like individually, since I don't have a Triton on hand? Also, the keyboard player in the video is using an Akai MPC 61 MIDI controller, so just about anything could actually trigger the sound.

Hmm; Larry's oriental, so he's definitely not one of the keyboard players in that video, so I didn't follow up on that before. I'll try asking him though; he can probably at least point me to the person who did make and use that sound.

I need to have ready to go for my church band - I'm the keyboard player. I'm still fairly new to playing around with synths, so I'm not sure how to create the sound that the keyboard player is playing right at the start of the video, the high, bright synth chords.Could someone describe it or suggest what I might do to create the sound in my own rig?

There's also a couple existing threads on Bitwig

I like your mix better than the original. Voted

I've never beaten them either. Think I'll play through the originals now, and maybe get the remake down the road, if my computer can handle it.

Not going to convince you to stay or anything, or even to say that the following comments are about you, but maybe the staff would have reacted more positively if a bunch of relative strangers hadn't started out on the offensive? The staff could've been better, for sure, but it's hard to remain calm when you've got people ignoring what you say about your intentions, calling it a 'dick move' in the first few posts, and so on. Some of you guys came here looking for a fight; so why the surprise when you weren't treated as if you'd calmly stated a concern?

I don't know; I'd say that OCRemix is under no obligation to release the music to me on any particular timeline (certainly not on one of my choosing) or even at all, PROVIDED that they don't prohibit you from releasing it. For example, if djpretzel gave up on OCRemix and chose to pull the plug on the site, I'd imagine he has no say over what you choose to do with your unreleased tracks. OCRemix has an obligation to YOU, the remixer, to do what they say they will with your track (namely, include it on the album for which you've intended it, and release it to the general public for free), but I don't see them as being under obligation to ME. When the few people against the Like thing who are posting here stop acting entitled, there will be no reason to label them as such. Maybe I'm splitting hairs here. At any rate, it IS fair to say that some opponents to the social media initiative have been over the top in their responses to OCRemix, and whether they ARE entitled or not (which is arguable), the lack of thought and truth in some of their arguments sure makes them SEEM entitled.

If people were being told they have to do something, things would be different. However, no specific person is being told that they must like OCRemix on Facebook. You, as an individual, *need* to do exactly *nothing*. If that delays the album release, so what? OCRemix is providing music for FREE, and they don't owe any of us anything. We are not entitled to a new album, or to any music being released at all, because we don't pay for it. None of us listeners are under any obligation to do anything at all. And true, this can come across as OCRemix telling others what to do. What I don't understand is why, for a lot of people, the default response was to complain, rant, or over-generalize to the point of making false accusations. That won't change anything, makes it harder for those wanting to leave actual constructive feedback to be heard, and just adds to the stereotype of entitled gamers.

Is it just me, or is this entire thread about people whining because they can't get a FREE album RIGHT NOW? Wow, entitlement.

I'm going to my in-laws to celebrate Easter a week early, so I won't be around that weekend. Otherwise, I'd totally go for a meetup (and try to get tickets for Distant Worlds if it wasn't sold out yet).

500 sounds on your keyboard aren't going to help you in an improv situation; unless you have all 500 memorized, you're just going to pick between a few good ones anyway, right? At best, you'll pick a category of sounds and browse a few presets in that category before you pick one to jam with. Same thing applies if you're sending MIDI into Reason. It strikes me that I'm not sure what your actual question is. Do you just want to know who uses a hardware keyboard to jam on? (If so, that seems kind of pointless knowledge) Or are you looking for someone to affirm that using a hardware keyboard to quickly choose sounds is a good way to get started on a track? Can't see anyone disagreeing with you there.

Even if you're only using MIDI, it's still not that hard to get your ideas down quickly and not worry about connections. Make a template in your DAW that loads a number of common instruments, anything you think you'll often want to record (piano, organ, electric piano, strings, etc.), and whenever you want to jam, load your template first, so switching between sounds is easy and quick and you don't have to load anything new, besides the template itself.

One of Capcom's reasons for the SF x T DLC is so that everyone can play online against a character they haven't unlocked without requiring updates or limiting the characters you can use based on what your opponent has or hasn't bought.

The only DLC I'm against is when there are *essential* pieces of a game that are sold for extra money. Additional audio tracks, characters, outfits, levels, etc, aren't essential, so I am fine with them. Even new modes of play, which often used to be included in expansions, are now called DLS instead and I'm fine with that. Compared to expansions, DLC is probably easier for game companies to manage and easier to release, and it has the advantage for the rest of us that we don't have to wait as long before a game can get content updates. Here's something to consider as a counter to the "but it's already finished!" argument. A lot of DLC requires little to no work to be done by programmers, and programmers are the big holdup in most game titles. Once the art assets or audio are done for a game, those artists and musicians need to move on to a new project, create new content for the current project, or sit idly (and get paid for doing so) until the team starts on the next project; they might as well be creating things outside the original scope of the game that can be monetized for the company. And sure, that content is often on the disc on day one, but why get annoyed over it? You're not being ripped off in any way; the company could choose not to put the content on the disc, regardless of when it's ready, and still charge for it. Seems like a sense of entitlement to me: "they created it before the game shipped, so I *deserve* it; I can't get it, so I'm upset" One somewhat related thing that does annoy me: some games are starting to have "multiplayer passes" - you buy the game retail, and you get a multiplayer pass in the box, but if you buy it second-hand, presumably the multiplayer pass has already been used, so you need to buy one directly for maybe $10 if you want to do more than the single-player mode. On its own, I'm cool with this; it's a great way for game companies to compete against the used game market, which has to have a significant impact on profits. What I'm not cool with is this: I bought a Vita on day one, and tend to buy my Vita and PSP games through the PlayStation Store if they're games that I'm going to a) want to keep, not play once and play occasionally. A good example here is Hot Shots Golf: I want it through the PlayStation Store so I can keep it on my memory card, making it easy to play the game occasionally without swapping game cartridges. I haven't tried any online matches yet, but I've heard that for downloadable copies of the game, you need to spend $10 extra for the online pass. The game is $40 retail and $36 through the store (most online games that are also retail are sold at a 10% discount because of the lack of physical packaging). The problem here is that by choosing to download the game, and not purchase a physical copy (which, incidentally, gives more money to both Sony and the developer by bypassing the brick-and-mortar middleman), I'm being asked to pay *more* than retail; I'm being penalized for buying online. Not cool.

What if you collaborated with a pianist on the song? You give them ideas for a part of the song, mainly a melody and style, and see what they can come up with?

Not to cause any issues, but are you allowed to transfer the licenses for EWQL? I'm asking because I'm attempting to sell my EWQL products too, and I don't think you can transfer the licenses. You could turn over your iLok account and everything you have on the key, but that'd be about all you could do, and there'd be no way to retain other licenses you also have on the iLok. Good luck, though! Hope you manage to sell!

A lot of people use EastWest Quantum Leap Symphonic Orchestra, Gold or Platinum versions, and supplement with other more specialized libraries if they've got the money and are writing music for a living. Incidentally, if you want to get some EWQL libraries at a discount, take a look at this thread; I'm selling mine.

Another vote for "good thing the lyrics aren't noticeable". I don't have to worry about playing this around my one-year-old. I'm curious; where are the lyrics in the song? Love the little nods to other songs; I'm disappointed I missed the Black Light Machine one though. I love Frost*! I knew it sounded familiar, butI couldn't place it.

Though, thankfully, everything downloads in the background, so it's only transferring save files that you really need to do. How is the game? Is it fun and worth playing? Most of the reviews have called it pretty generic and a ripoff.

Agreed about the duration of notes; I was using NI Studio Drummer and dragged some groove patterns out to Cubase MIDI tracks, and the MIDI clips I got had some notes with really short durations. Those didn't sound. Possibly the drum map is changing note durations? Another thought: does the drum map change the MIDI channel to 10 by default?

So it came out last night, and no one has posted yet? The one downside I've seen so far is that I couldn't figure out how to get all the games I'd downloaded two nights ago from Media Go onto the Vita; I had to download them all again from the Vita itself. Sure, there are a few odd things with the way the interface works (I'd also prefer button-based input; they probably did it touch-based to compete with the iPhone), but really, it's a good system overall, and small issues in the UI can always be fixed with a system update. I didn't have much time to play any games, but I got all the Welcome Park trophies in about an hour. Today, I'll have more time and can get into some of the real games that make the system worth buying.

Also, NI Kontakt (http://www.native-instruments.com/en/products/producer/kontakt-5/); it's not just a drum sampler, but it's the best sample playback VST, and if you want to drop money on other sample libraries, you'll probably find you'll need to get Kontakt before long anyway. You can get good libraries like NI's Studio Drums or Abbey Road Drums that play in Kontakt.

Happy birthday to you! Have fun with it!