ambinate

this is so damn good. the production is outrageous

thanks so much, man! i'm glad you enjoyed the tunes. drukqs is such a rad album, i definitely take a lot of inspiration from it! thanks for downloading, flexstyle! i hope you didn't hate it a lot

thanks a lot, man! really appreciate it. i've actually been a big fan of trifonic for a few years and emergence is one of my favorite albums so i'm totally flattered to hear that my stuff reminds you of them, haha. i rip them off (their sound design especially) pretty shamelessly, so i'm glad it's working in some way! hope the ep doesn't disappoint, ectogemia! appreciate the support, man!

seriously though this is rad. i could vibe out to this all day. big fan of your soundscapes and drumwork. edit: i respectfully disagree with mr xavier on the need for a shredding lead but i could listen to selected ambient works vol 2 for a straight week so maybe that's just me

ambinate.bandcamp.com here's my second release - a free ep called "cycles." it's mostly ambient dubstep with some drum and bass thrown in at the end. i'd love to hear any and all feedback! thanks a lot for listening.

dubstep gets a shitty reputation these days because a certain brand of it has blown up and gotten overexposed and all that, but it's actually been around for a while and is a really varied genre. it isn't even really defined by a halftime drum pattern or a wobbling bass (although those have gotten really popular lately). a lot of dubstep uses 2-step drum rhythms, since that's how it got started: http://www.youtube.com/watch?v=1rMeyJzh0dQ (i'm using some older rusko as an example here 'cause these days he's become known for making halfstep with wobbling midrange, but there is a ton of dubstep

green tortex .88mm were my shit for a long time. i don't even remember why i switched to jazz iii but now i'm too used to the tinier size and i can't play with regular sized picks anymore. but those green picks will always have a special place my heart.

ernie ball 10-46 for e standard tuning and 11-48 for d standard. i usually go with dunlop jazz iii picks or dunlop stubby picks (which are 3mm).

http://www.youtube.com/watch?v=ad_eKQh4ru8 dude was ahead of his time

this is where the nostalgia bias comes in, i think (and i don't mean that as an insult - it's just a preference thing). other than the fact that we grew up listening to this stuff and remember it really well, why is memorability the key factor in judging video game music of any era? higher on the priority list than memorability, i think, is effectiveness as accompaniment to the actual game. a memorable score that's not doing a good job of supporting the gameplay or story is a lot worse than an unmemorable score that supports the gameplay/story really well.

this is a really cool idea for a paper and i think it's great that you're researching something you're passionate about. that said, i don't mean to be a total jackass, but i am going to strongly disagree with your thesis. i understand where it's coming from, but i think it shows a bias for a very particular type of music without regard to actual quality. gaming music has evolved in a number of dramatic ways because gaming itself has evolved in a number of dramatic ways. the fact that a lot of modern game music "lacks a strong melody" does not immediately mean that the music is bad or of a

we can only hope

moombahton. not joking. within 6 months to a year it'll be huge if it keeps up at the rate it's going now. not top 10 material at the moment but i think it's just a matter of time. other than that, electro house and progressive house styles have been stable and popular for a while and don't seem to be going anywhere, so those are good bets. like prototyperaptor mentioned, breaks-based stuff isn't popular on that level anymore aside from a handful of artists that cross over (pendulum, for example). i don't think downtempo has ever really been big on this scale aside from a few artists.

i'm no expert at this stuff, but i really like making ambient-influenced music and lately i've been working on soundscape stuff, so off the top of my head, here are a few things i've found helpful: - reverb and delay are super important, like you said, but getting creative with these effects can make for some really cool results. make a signal chain that has a delay going into a reverb going into another delay with different settings, all going out to your main reverb send, or anything like that, and you'll get some cool results. same thing goes for using wet/dry ratios you would typically n