Moseph

Man ... And I never played sniper back when I had a 130ms ping because I assumed it would be impossible to hit things.

I hate recording live presentations that include audience participation but haven't been miked for audience participation.

ZOMG beta-testing!!!

Check out my novel approach to U-Turn. http://FantasticContraption.com/?designId=879849

Here. http://kotaku.com/5016721/postal-wins-award-really

Here's another really simple take on Handling. http://FantasticContraption.com/?designId=629989

I think the server gets overloaded because there are too many people using it.

This is a certified win. Much more interesting than my boring stair-climber car. I almost managed to complete level 20 with a catapult, but the projectile needed to drag a chain behind it, and that wasn't working out.

Go to the browse by remixes page (the link is on the sidebar, among other places), and click on "posted" at the top of the date column. It will either sort by ascending or descending date. If it does the wrong one, click it again. Or you can use this link: http://www.ocremix.org/remixes/?&offset=0&sort=datedesc

I just beat 20 - Unpossible. Here's my solution for anyone who's interested. http://FantasticContraption.com/?designId=643727

Ha ha -- you can view other people's machine designs after you've finished the level. I hadn't realized that.

17 - Handling is fairly straightforward once you figure out the trick to it. Is anyone else up to 18 - Tube? You have to lift/fling the ball up a vertical shaft which has no floor. I am stuck.

Man, this reminds me of when I used to play the Incredible Machine as a kid.

I definitely know this sample, too. There's a particular car-suspension-bottoming-out sound that I've heard used many places, but I don't remember specifically where (I think it may have been in Midtown Madness, and possibly the movie Paycheck). If I locate an example, I'll post it.

http://handbrake.fr/

There are size limits on AVI files which are (I think) a holdover from the way the Windows 95/98 file systems dealt with large files. It's been awhile since I've dealt with AVIs myself, but I think in a lot of programs they can't exceed something like 2 GB. VirtualDub does a good job with large video files for editing purposes -- if you haven't already, you might try opening your file with it -- but I don't know if there's any way to make CamStudio any more friendly to them.

There is no song list for GH IV. You have to make your own songs with the track editor. Saves on licensing fees.

Pez, I'm not sure what kind of Firewire ports the MacBook Pros have, but if you want to use bus power, the Firewire port you use needs to be a fullsize 6-pin port, not the smaller 4-pin version.

The 0404 USB does two inputs at a time (it has two input jacks, each of which can be used for 1/4" or XLR). It also does SPDIF in/out and MIDI in/out. The preamp is what boosts the level of the incoming mic signal so that it's loud enough to be used. It affects the signal-to-noise ratio of the recording and the overall quality of the sound. I've heard that the 0404 is supposed to have good preamps for the price range ($200 and under), but I don't really know since I don't have anything to compare it with.

I considered the FireOne when I was interface shopping, but I didn't like that it only had one 1/4" input. I ended up getting the Emu 0404 USB, and I've been happy with it.

Violas are totally underrated.

A sound wave, in the physical sense, is a sequence of high- and low-pressure that travels through the air from a sound source, much like the ripples that are created by throwing a stone in a pond. If you overlap two sounds which are exactly the same, except that in one the areas of high- and low-pressure are reversed (in technical terms, the phase is reversed), the sounds will cancel each other and you'll have silence. This canceling phenomenon is used in both of the tricks I mentioned. For the karaoke voice-removal, you need to pan both the left and the right channel of your recoding to the center (in effect creating a mono track out of a stereo track) and reverse the phase on one of the channels. In most cases, this will remove most of the lead vocals. Traditional mixing practice places the lead vocals in the center of the stereo field, so the vocals are equally present in both the left and right channels. When you mash the channels together and reverse the phase on one of them, you are performing the canceling operation on whatever sounds exist in both channels. The other trick works similarly. If you have two recordings that are mostly identical, playing them together and reversing the phase on one will cancel whatever exists in both recordings but will leave whatever is unique to one of them. So if you have, say, a recording with just drums and a second recording with the same drums and an added bass, doing this will cause the drums to cancel, leaving only the bass.

Mario Likes Thorazine is a string quartet. To the Land of the Great Mammoths begins with a cello solo.

Higher-res picture here. It does look like there's a port on the bottom. The rubber grip on the Wiimote on the left has a cut-away section to allow access to the port.

What I'm thinking is that furiants are not technically notated in 6/8, but they feel as though they're in 6/8, and thinking of them as being in 6/8 is the clearest way to understand what's going on rhythmically. (As far as metric equivalence goes, four measures of the traditional 3/4 could be rewritten as two measures of 6/8 without any significant changes.) I feel Finale calling to me ... maybe I'll notate some examples.