Nabeel Ansari

I would avoid showing SAO because showing an anime that is both popular and constructed like a harem doesn't send the right kind of vibes to impressionable teenagers.

This is so incredibly stupid.

Are you routing each instrument to separate outputs or trying to smush them all into one?

Yes, it's called learning how to mix and master. Bit depth has nothing to do with loudness. It's amplitude resolution. Max volume is max volume, no matter what resolution you can get between 0 and max. Loudness is about signal energy, frequency balance, dynamic range, etc.

You can skip the endless eight without skipping the rest of the season. :/ Also, I've never really advocated skipping it anyway, there's a lot of stuff going on underneath that you miss if you don't watch it. I guess maybe not a fun task for a teen anime club, but definitely for analysis.

The weird system doesn't actually tell you if people are online (it tries to but it's wrong) so I just invite you whenever I see you.

Add me! neblix

Have you tried the Melancholy of Haruhi Suzumiya? It's very light, very funny, and very self-aware. The only issue I can tell is it might be a bit fanservice-y in a couple episodes.

Looks very cool, the music needs a lot of work, though. I would have thought it was a ROM hack. You got the sprite trail during the dash down really well. Mega Man Zero is my favorite series, and ZX falls in by extension because it's the same kind of gameplay. Do you need music for this project?

If you're talking about post-production stuff, iZotope is the gold standard, RX in particular. All of the sample editing people in Kontakt industry use RX. Its spectral editing capabilities basically outclass other plugins that do similar things. I wouldn't really consider it a creative effect, though. It's more for polish. If you open RX in standalone mode, you can batch process on large sets of wav files. I know that many, many sound designers (not for musical sounds, but for actual sound effect libraries, where they record, process, generate, etc.) use RX for their polish and cleaning up. For creative effects, I know that @Beatdrop really likes D16 plugins. Sigmund is a very cool delay plugin. And of course, I need to recommend the obvious: Reaktor. You can make anything in Reaktor, because its modular. V6 in particular. Look at Absynth FX, too. Absynth is one of my favorite synthesizer designs. If you get a handle on the interface, you can make really cool, wacky "out there" stuff. It can be used for FX processing.

Can't help you interpret his advice otherwise.

Can you link the thread? One or both of you are misunderstanding each other.

There's a difference between what a teenager is actually interested in and is able to handle vs. what an adult is allowed to show them. It's one thing to recommend a good anime to a teen, it's another thing to run a club and show it to them, and be liable for it. That's why the caution is needed here.

In other news, I've been training Karin a lot. Couple hours a day. Her light attacks can link into her JFL (fast dash uppercut that launches you), and once she has the JFL she can do quite a bit, including being so lazy as to just end the combo right there with a free Critical Art. Right now I'm training against a Zangief CPU, because her anti-air game is weird and his air game is kicking my ass right now.

Yes, if you attempt to score anything how you would write a track that meets OCR standards, it would seldom work. There's only a simple principal behind this, it's nothing very nuanced or complicated. It's that in media, music is meant to augment something that is the focal point. For songs you release on an album, for songs you release on OCR, etc. it's not augmenting or filling the gaps of anything; it is the main point of itself, and so it is okay for it to do whatever it wants without ruining or derailing something it's supposed to support. In scoring, something as simple as a chord change can re-contextualize a scene, and can make a director very angry if you seem like you don't understand why. It's not about your vision, it's about his; granted, it's not as if this is a rule, and sometimes directors choose to heed a composer's ideas.

I think what he's saying is that the advantages gained by taking the risk to use the move are not really worth the risk and that there are more optimal move sets to use that yield better results in most cases. As the article noted, even if you do land the parry, what does that gain you? A Shoryuken, *maybe*. Parries were much stronger in Third Strike because they were faster and they were guaranteed reversals that linked (correct me if I'm wrong). In SFV, it doesn't seem to be the case.

You basically said nothing. I checked the train of logic; it goes nowhere.

I learned a lot of production stuff from OCR that I had to unlearn later on in order to get better at mixing

I don't see the parry as gimmicky, in fact it's easier to execute now than it was in Third Strike, now that it doesn't require forward movement (expressly walking into an attack instead of blocking it), can be mashed (trying to mash parry in Third Strike makes you just go forward a bunch) and can still parry multiple hits in a row. It's kind of something you can just intentionally "do" now instead of only having it work when you actually land it.

That's a quote I'm stealing for generations to come.

I can tell you from experience, you are chasing a methodology that doesn't work. If you can not employ good composition, the mix will not sound good. An unbalanced and/or empty composition is an unbalanced and/or empty production. Trying to mix a poor composition is an ineffective way to learn how to mix. You can not just put effects on things and expect them to fill the gaps the composition left open. If you omit bass, you are omitting the rhythmic harmonic foundation of the composition. You're also leaving an entire flank of the frequency spectrum empty. Furthermore, an ideally recorded performance doesn't actually need any mixing, just some touching up and enhancements to taste. The recording quality of your parts is very, very messy. As others have noted, there are a lot of room reflections and there's no clarity. You don't have to have other people play your parts, but you do need to record the parts properly. Minimize reflections, and place the mics where the tone of the instrument is maximized. You can look up tips for each instrument online. If you want to just improve your mixing without worrying about composition, you should use pre-existing recordings. You can download unmixed, multi-track sessions (zip with wave files) from here. There are many genres to choose from.

This game isn't balanced so long as Ryu and Ken can interrupt perfectly reasonable combos with a button mashed wake-up shoryuken and face no recovery repercussions for failing to land a hurricane kick.

I'm serious dood, this game is that good to me.

Buy this. Master it. You'll be able to learn anything with ease. If you stumble into a part of music where you look at your hands after many attempts and say "I can't physically do that" or "I can't make my hands do that", you likely haven't mastered the book. The last sentence of the first paragraph is important: The left hand gives out in passages of slight difficulty; the fourth and fifth [ring and pinky] fingers are almost useless for lack of special exercises for these fingers, which are always weaker than the rest; and when passages in octaves, in tremolo or trills occur, they are usually executed only by dint of exertion or fatigue, so that the performance is very incorrect and wholly wanting in expression.