Kidd Cabbage

Multiband distortion works well for this so you can keep the lows solid.

Doesn't mean that the US Postal Service would've won the case.

This is not copyrightable. All that you can do for an artist/band name is servicemark it, which is basically way that people won't confuse two different people offering services. The best way to go about doing this is just to get your name out there - start playing shows. If there is a local band in New York and a local band in Boston, both with the name "The Repeaters," there is not a big chance of the two confusing the two, and the legal system won't do anything about it. However, if you're going to name your band Aerosmith and you're from Boston, there is a big chance that someone will go to your show, thinking it's the band Aerosmith, and they can take you to court over it. However, if you named your band Jiffy Lube, you're fine, because nobody is going to mistake a band for an oil change. So basically, there is no way to protect your band name other than proving that someone else of the same name, after you've established your name, is going to be taking revenue from you by confusing the average person.

That's how half my synths are. And the other half, I've never opened a preset, so it's all the same. It's actually a whole lot less boring to me than looking through presets. I have a thought in mind as to what I want, and I get down and make it. No wasting time puddling through bullshit, hoping to find something close to my vision. And analog, I'm referring to myself, as neblix said, in comparison to people who can't make them. I just don't see much point in someone who can synthesize from scratch digging through presets. And again, like I said before, my being able to synthesize doesn't make me a better musician than those who can't or any better at making music. It means I'm a better sound designer.

http://youtu.be/BPBNBAcfLZk?hd=1 The original is meh at best. This one is tits.

What about JRPG-styled that isn't as high resolution, like SNES RPGs? Still a big task, though, but more feasible than that example you posted. Funny, actually, a few friends of mine started work on the same premise (basically Elder scrolls 2D style) but it never really went anywhere. So this idea is right up my alley.

I never use presets. All my synth sounds come from an Init patch. Doesn't mean I'm superior, am ambient says. It just means I'm superior when it comes to synth design.

Ah, I know you're a douche-homo, but that floored me. In a homosex way.

Could I get my name changed to Kidd Cabbage? My remixer name on OCR is such, and I figure I might as well consolidate all of my handles.

Is it just me or does I V I sound like Beethoven?

You missed Neblix saying that Chariots of Fire started with a parallel fifth.

Also, it's not a fifth. It's an inverted fifth, or a fourth.

I do not think that word means what you think means.

Singing solfeg helps a lot because you start to associate the syllables with pitches, and when you associate solfeg syllables with scale degrees, it helps you keep your tonality. If you don't know all the solfeg scale degrees: Major scale: Do Re Mi Fa Sol La Ti 1 2 3 4 5 6 7 Di Ri Fi Si Li #1 #2 #4 #5 #6 Ra Me Se Le Te b2 b3 b5 b6 b7 So a minor scale, would be "Do re me fa sol le te do." And the Star Wars theme is "Sol Sol Sol Do Sol Fa Mi Re Do Sol."

Rebecca Black.

Well, what are you asking about, then? If you're using Reaktor to just use preset ensembles instead of making new ensembles, then you're going to be better off just using other synths that came in Komplete, like Absynth, FM8, or Massive.

I'll listen to more after school and work, but I checked out the first track and it's enjoyable. Defs hear the deadmau5 in it.

I'm just going to make the suggestion that if you're barely managing with the other synths, then you should probably hold off on trying to figure out Reaktor. Reaktor's a beast, and making your own synths is a bit different of a story than using them

Greatest remix on the site.

Roland Jupiter 8. I will die a happy man when I eventually find one I can afford. I may get a Juno-60 to hold me over until I can.

Yuh yuh yuh yuh. That's how it does. Driving around, listening to rap music and shooting all the jobs. http://soundcloud.com/kiddcabbage/kidd-cabbage-the-hive-cluster

Just a tip, DI gets you a really clicky, attacky presence. Miking a bass amp gives you warmth and bottom. So when you're setting up your mic and DI signal, keep these things in mind and try to capture these elements with their recording method as best you can.

Do both simultaneously and mix the two signals. They both capture different aspects of the tone and mixing the two will get you a more full, complete sound.

This. Get some discipline.

You know, I used to think that, too, until you posted this. Now I'm convinced that limiters are a form of stupid and that's why you use them.