Moseph

It does indeed include hammer/pedal noise, so that's probably what you're hearing. A shame? When you close-mic a piano (or even sit at one and listen to it as you play it) you hear all of that stuff. You can sometimes even hear some of it if the mic is a good ten or twelve feet away. It's a legitimate part of the piano sound and it makes it much more realistic. If I use it with the default configuration as a VST in Sonar and push it to 110-ish voices with Reason also ReWired and playing a few tracks, the CPU load hovers between 60% and 70% (by Sonar's count, anyway). (I'm using a Core 2 Duo, 1 gig RAM). I've had the delayed note problem, too, but only occasionally during CPU-load spikes, and then only very briefly. Realistically, this is the kind of thing you'd want to bounce to an audio track as soon as possible rather than keep the VST playing. That way that massive chunk of CPU power is freed up for the rest of your mix. I don't have FL, so this may be no help, but have you tried turning the volume down within the VST? (i.e. the green bar in the middle of the piano's MIDI Mixer view.)

Non-Pro Quicktime won't let you save as source, so the way download it is to go back to the previous page -- the one where it has links that say "Download from Aplus," etc. -- and right-click on one of those links and choose "Save Link As..." (or whatever your browser calls it).

In Display Properties under the Appearance tab, click the Advanced button. The dropdown menu there lets you change the size and spacing of shortcut icons. Playing with those might help.

Speaking for programs I've used . . . Both Sonar and Digital Performer have sheet music views. Pro Tools and Reason do not. If you want to write in a sheet music view but also want to use a program that doesn't have it, one option is to do the actual writing in a notation program like Finale/Sibelius/NoteWorthy then export the music as a MIDI file and import it into the other program.

Unmod: The Musical There's a catchy number in which the judges djp.

I've said it before and I'll say it again: I want a World of Warcraft musical.

1. Any soundcard/audio interface that has some sort of stereo input will probably work. Depending on what you get, you may also need some converter cables (possibly XLR-to-1/4" if you're going from the microphones, or possibly 1/4"-to-RCA if you're going from the board). Basically, you just need to know what kind of cable the output is going to be on and what kind of cable your audio interface can record from. Something of this sort (http://www.zzounds.com/item--BEHFCA202) is probably what you should be looking for. (I have no idea if that particular audio interface is any good, and there may be cheaper things. Maybe someone can give some specific recommendations?) 2. You could do either. Probably from the board would be simplest, since any audio interface in the sub-$100 range probably won't have stereo XLR-inputs, which is what mic cable is (although, like I said above, converter cables could probably take care of that). 3. Set up and test as early as possible -- don't just show up half-an-hour before the performance and expect things to go smoothly. While recording, you can either keep going through the entire performance or stop recording between songs. Only do the latter if you're absolutely sure that there's no chance they'll start singing again before you're ready. Set your input levels before you start and then leave them there. Don't fool with the input levels during the actual performance unless it's clipping (and maybe not even then, depending on circumstances). When you're getting stuff ready to be burned to a CD, you'll need to decide whether you're going to normalize the volume based on the peak volume in the entire performance or based on the peak volume in each individual song. It's basically up to you, but never normalize movements of a multi-movement work separately -- base it on the peak of the entire work. (And make sure you know your software -- I once recorded an entire recital only to find that Pro Tools had not, in fact, been recording! )

Haven't tried it with Sonar yet, but I'm playing around with the stand-alone mode. You can hear the hammers move when you strike and release notes. If I don't run into the problems Kanjika mentioned, I think I'm going to like this.

I don't think it counts as an outside dev. IIRC, part of what happened when Nintendo and Rare parted ways was that Nintendo got all the rights to Diddy and a bunch of other Donkey Kong stuff. Besides, they don't seem to have minded using Rare's material in Melee -- Cranky Kong walks around inside the house on Melee's sunset DK level, and the other level has the DK Rap. Although why Melee didn't actually have Diddy is beyond me. EDIT: Rambi as an assist trophy, please. EDIT2: Argh! mattycat900 made my post unnecessary!

From the look of the Squirtle pic, he's gonna have some sort of monkey kung-fu. Or he's doing the YMCA. Kind of hard to tell.

I just realized that Subspace is also the name of that dark, mirrored place in SMB 2 that lies behind the doors the potions create. (If someone mentioned this pages and pages ago, I apologize.) Very cool that the idea is being reused.

And if you can't do that, you may be able to just burn the AUDIO_TS and VIDEO_TS to a DVD and watch it like that.

parakeet is good food did I mention that i- LOVE my job! I am not the only one selling- iPhones_ anymore Sex is not the Answer by the way zombies will kill you They will kill you if you DON t know about Women, unmod is dead Long Live the king most girls are not allowed to be- a great- Dad_ stop editing this post to a group of Noble dames

http://www.ocremix.org/forums/showthread.php?t=10327

These samples could be made to sound pretty good, IMO. I think the couple of problems are 1) The high instruments are way, way down in the mix. For example, 2:12 is one of the only place in the arrangement I can actually make out what the violins are doing, and they sound like they're physically located behind the rest of the orchestra and playing way softer than the brass. A real orchestra does not sound like that. 2) Inattention to nuances. Listen to the solo that starts at 0:23, for example. It runs continuously until 1:04. Continuously, as in without any place for the soloist to breath. It sounds very, very unnatural. That particular melody has a million places where the phrase could and should have been broken to allow breathing. Also listen to how the strings double the soloist's melody at 0:44. Their attack tends to lag behind the solo instrument because sampled strings tend to have a slower attack than sampled brass. This is also evidenced in how disjointed all of the strings' material sounds in the first minute of the piece -- every time a new note is needed, they don't just glide into it like real strings could; they re-attack. You often have to put the strings' note ahead of the beat or edit your samples to offset this. (The problem's not actually as pronounced in this arrangement as it is in many others I've heard, but it's my synth orchestra pet peeve.) The only fix for these things that I can think of is to listen to non-synth orchestral music and try to imitate it. If you have the opportunity to attend actual live performances, even better.

^ Agreed ^ A Pokemon MMO would be full of eight-year-olds, and little kids in MMOs tend to be annoying beyond belief.

I had a sudden vision of a forest in WoW where someone had cut down all the trees. Every single one. Just because he could.

I like this a lot. The drone's fine. I think the mix is a bit bass-heavy, though -- maybe EQ the low-end down a little. As far as melodic development goes, it might be interesting to gradually mutate that repeating background line (the first thing that comes in) -- add a new note every so often, change an existing note every so often, etc. You could also maybe have another instrument that plays the melody at a different tempo and/or in a different range. Or play the melody backwards at some point, perhaps? Personally, I'm not bothered by the lack of melodic material, but the judges may or may not have different opinions. I'd say even if you can't come up with anything more for the melody, go ahead and submit. If they accept it, cool. If they don't, then you can try to come up with something more. I would love (love, I say) to see something like this get on OCR. Let's expose people to something other than rock/techno/dance!

Much lulz. And made me think of a certain bit of ytmnd nonsense.

I don't know, i think its cool. THey're doin something different at least: http://www.youtube.com/watch?v=P0VYd9TcrbU&mode=related&search=

I guess it could be important, mostly in cases like this where it's unclear exactly what's going on. Helps you know what at least would be possible to play, and then you can work from there. In a lot of cases, I think it would be sufficient just to have an academic knowledge of how an instrument is played (e.g. range, performance limitations) without actually being able to play the instrument.

My observation on CGI vs puppets/costumes is that CGI often looks more realistic in its own right, but puppets/costumes often look more organic with the rest of the scene.

Dang it. Where's my Warcraft Broadway musical?

Took another listen, and I think you're right. Here's my revised theory. DADGAD is a common Celtic guitar tuning (says this site, anyway), and this tuning makes everything work. And it would make sense, given the Celtic influences in the soundtrack. The starting chord sounds like it may be open fifths/fourths (E and , and it's really easy to finger that on all the strings with the Celtic tuning. It also makes it easy to play the line I came up with in my last post on two strings at the same time, and I think it would be easy to hit the low E whenever the bass does. The repeated Ds could be played on all three of the top strings.

Can't really hear the guitar part very well on the YouTube video because of the low bitrate. A higher-quality sample of part of the section in question is available on Wikipedia. The guitar part is basically doing the same thing as the string part that comes in after it. After much EQ'ing and channel isolation, I'm of the opinion that the guitar is not playing chords. Just single notes. There may be two guitars playing the same thing, actually, because its present in both left and right channels, and it sounds different on each. That would also explain why the sound is fuller than you'd expect from single-note playing. Or maybe the guitar has resonator strings in it. Anyway, here's what I came up with. I'm not sure what it does after the chord progression changes, since the Wikipedia sample doesn't go that far. edit: The guitar in the left channel is tuned several cents lower than the guitar in the right channel, so I think that's what's up with the fuller sound.