dannthr

When I was working at a game store, I compiled a Jazz remix CD with the few Christmas game remixes on it and it worked great for the Christmas Shopping Season. Sometimes just an instrumentation can have a Christmas-y feel.

Real Ivory? That's kind of messed up now-a-days.

I guess I think it's good, but there are things that bug me about it at times--just little spots that sort of irk me when I listen to their demos. It's not like anything IS perfect, it can't really be, and I'm really optimistic about where virtual instrument modeling can and probably will go. But I don't feel like it's there yet, personally.

It's just paving the way for more dynamic sound--perhaps even dynamically modeled soundtracks--in games. Things like Wallander Instruments Virtual Instruments, where they have a 300mb footprint and synthetically model decently (not great, but they're working on it) brass instruments, that could mean that game composers could go back to the days of writing MIDI for games and procedural algorithms for implementing musical concepts in the real-time score. Very cool things are beginning to happen with music and games are at the forefront because of their interactivity.

I was really looking forward to going to GDC for the first time and I've now learned that they will no longer be offering an audio pass. Therefore, it's unlikely that my guild will offer a discount for which I joined in anticipation. So, basically, I'm pissed off: http://www.gdconf.com/register/passoptions.htm It seems to me that while they say this is just a simpler pass system--that this pass structure is designed to avoid confusion--they just want all the people who bought the audio pass last year to pay the extra money. Period. Is anyone here planning on going? Is anyone here looking at the Conference Pass and saying: That's too much, but looking at the Summits and Tutorials Pass and saying: That's too little? I'm just... annoyed.

Depends on what you want from it :S If you want fully weighted keys you will probably end up spending more than $150 because of course there are actual mechanical designs being implemented in every key.

I use the CME UF8: Though they have other sizes, too. I got it because it had fully weighted keys, selectable velocity curves, a mod wheel and a pitch wheel, it has key aftertouch, and it has an expression pedal input as well as the standard sustain pedal. Additionally, it has a programmable interface for DAW control and plugs in via USB if so desired. It gives me a lot of control options without feeling like it's not a piano. The action, though, is a bit lighter than a real piano--but not by much--just slightly so that when I converted from the Roland RD100 stage piano, I could tell. The last reason I got it was because as I was doing research, its reviews tended to outshine the M-Audio equivalent (the keystation or something). Obviously, they have whatever size you're looking for: I've been really happy with it, though I had to order it online because they're distributed via Yamaha and a lot of local dealers don't carry those side lines. So I just got it from MF--but I wouldn't recommend them, in fact I don't order from MF anymore since I had to refer their one of their orders to my cc's fraud department for basically dicking me around and never paying me.

I used to have my startup sound be Homer Simpson saying: "So they have the Internet on computers now..."

What are we supposed to do? Elect the Governator to the Presidential Office? Is that the only way to stop the madness?

And it will be as long as you have an attitude like that! 'This is the renovation that doesn't end, yes it goes on and on my homp, some people started working on it not knowing what they were getting into, and they'll go on working on it forever just because...'

Meh, I'll use XP until Service Pack 2 for Windows Vienna I really like the Umbrella Corp. theme.

Additionally, in more complex scores, sometimes the copyist or whoever authored the score, will write in how long a beat should be. So you could have a 12/8 score and there might be a special indication denoting that a beat should be, say, as long as a quarter note, or longer, etc... They usually indicate this with a messy and illogical math equation having a quarter note = some other note (whatever they want the length of a beat to be). But you probably won't run into this.

And you line up the waveforms right on.

I'm aiming to get 6 to 8GB in the slave computer once I get the Win XP x64 running smoothly. I'll then be able to have a couple of instances of K2 running some big templates. Or K2 and another sampler like VI or PLAY--that's the idea at least. What I'd like to get is one of these: http://www.sweetwater.com/store/detail/HDSP9652/ So I can have multple audio sends over lightpipe, or one of these: http://www.sweetwater.com/store/detail/HDSP9632/ and just do all my mixing on the slave comp. But I'm probably not going to--I'm probably going to go cheap and just throw in a couple of Delta 2496s so that I can have two or three spdif sends and just do my mixing on my master. And those comps are fairly cheap--I just built my master for like... 700 or so bucks including an OEM copy of windows (yes, I paid for windows ). Building your own comp is a great learning experience and you can sometimes save as much as 3 times what a similar retail comp would cost. Plus, you don't have to pay for stuff you'll never use.

you're = you are Also, I'm not sure that is actually correct. You can distribute copyrighted works if the copyright owner has licensed to you the ability to do so. I would say that attempt at legal jargon is pretty confused. Obviously, if OCRemix is claiming this, then there must be an "exemption" which applies. Nonetheless, and maybe because I haven't kept up with copyright law, it used to be the burden of the distributor to acquire licences to distribute, not the receiver. This is how radio station listeners are protected from being liable for royalties. The burden of receiving permissions is that of the distributor, the burden of collecting royalties is that of the copyright owner (which is why royalty collection companies like ASCAP and BMI exist). I'm sure that if a copyright holder asked OCR to C&D the distribution of their unlicensed material, OCR would comply. I don't see a problem until they do that.

Instruments: An old bundy Clarinet A steel-string washburn guitar A CME UF8 MIDI Keyboard Controller A Roland JV-1080 Sound Module Computer #1: (Master) Specs: AMD Athlon 64 X2 4600+, 3GB RAM, 160GB 7200rpm HD (system), 320 GB 7200rpm HD (slow storage), 150GB 10,000rpm HD (sample storage) Hardware: Tascam US-428, Sony MDR-7506, AKG C-1000 Software: Windows XP Pro w/SP2 (32 bit), Cakewalk SONAR 5: Studio, Sony SoundForge 8, MIDIOverLAN Computer #2: (Slave) Specs: AMD Athlon 64 3200+, 4GB RAM, 40GB 7200rpm HD, 3 x 74GB 10,000rpm HD Hardware: M-Audio Audiophile 24/96 (audio bussed over S/PDIf) Software: Windows XP Pro w/SP2 (64 bit), Native-Instruments Kontakt 2, MIDIOverLAN, East-West Wordbuilder Libraries: EWQL Symphonic Orchestra Gold, EWQL Symphonic Orchestra Gold XP, EWQL Symphonic Choirs, QL RA, QL StormDrum, DISTORTED, Prominy LPC Clean, Tsaiko, Pingu Custom Library Field Equipment: M-Audio Microtrack 24/96 Audio-Technica ATR-55 Shotgun Microphone Audio-Technica Pro24 Stereo Condenser Microphone Audio-Technica ATH-M20 and about 2.7GB of CompactFlash media Please don't rob me.

You can manually set XP to handle file extensions in the old method--which is what I do so I can have more control over them. I usually program html and php files as txt files first, being able to switch the file extension quickly becomes convenient.

That's too bad, man.

Just as a note, how long did you "wait" in queue for paying nothing?

When I was watching the Congressional Subcommittee for Consumer Protection's hearing on Black Media Stereotypes, there was an ex-record-industry-sap-turned-journalist who basically mentioned during her testimony that no music artist needs a record label anymore. Tru-dat, sistah! (She's not really my sister)

Hahahah! Seriously, though, many evaluations are subjectified by the uses of the evaluator--understandably--and we just need to let the testers do their tests and decide for ourselves which DAWs are most appropriate for our varied uses. I think the math sum test is really good in pointing out audio engine math performance--but it has its limits.

No one said that, Suzumebachi, stop exacerbating all over this thread.

I love Zurgo!, a Romanian folk group, and I really enjoy Radiohead. Though, admittedly, they're nothing alike. It's likely you've heard at least one or two of their songs without realizing it. Not that you would've enjoyed it, but there you go.

What's interesting about SONAR 6 is that it seems to have better performance with WDM drivers but not better latency, and it doesn't seem to do all that well with ASIO. I'm REALLY interested to see how C4 stands up and also SONAR 7, now that it's out.

I'm talking about stress testing the actual audio engine and how it handles resources. Basic audio processing (ie: Levels) isn't going to quell any debate except the one that starts with the naive statement that one "sounds" better than the other without regard to the actual specifics involved. But if changing the levels was all we ever did with these programs, then there'd be no real debate. Unfortunately, or rather fortunately, we do much, much more with these than just audio leveling and inverse phasing.