Nabeel Ansari

Hey guys, I have to make a book trailer in my group for "Lord of the Flies" with my group. Being almost the only composer in my class, I volunteered to do the music for it. It's a wav: http://dl.dropbox.com/u/15510436/File%20Sharing/LOTF%20Trailer.wav If enough of you ask I'll render an mp3. Just posting it here because I'm sure there's someone around here who remembers me as that horrible 13 year old remixer from the WiP Forums and I wanna say that I haven't been sitting around. Instruments used: Zebra 2 for... Pad 3xOsc for Sine Wave Steinway Grand Piano Soundfont Monster Staccatos Free String Staccato Library for Strings Everything else: Kontakt default libraries. (I'm starting to love pulling the trigger on the half-off deal, back in November, even more)

The entire post is true, but I'm QFE this specific part. I find myself offering music services to any one in my school wanting to make a short film or game, even though we're only in high school and the projects are all extremely low budget. The credits and portfolio additions are the rewards in and of themselves, and will PROBABLY HELP A LOT when I'm actually looking for paid work/ big multimillion dollar game projects.

Final Fantasy VII Crisis Core Vanquish Pokemon Diamond Pokemon Sapphire Pokemon Leaf Green Super Mario Brothers 3 Kirby Squeak Squad Kirby Mirror Game thing Kirby Canvas Curse Kirby 64 Crystal Shards Ace Attorney 1-4 Megaman Starforce 1-3 Klonoa 2 Draglade Megaman Zero 3-4 Nanostray Megaman ZX LoZ: TP Rogue Squadron Star Wars: Clone Wars Portal Plants vs. Zombies Megaman X, X3, X4, X5, X8 I am quite sure I'm missing quite a bit.

Networking helps, but it won't get you in by itself. It's the one thing you should worry the least about. Why? You can get recommended for something, but what about doing the job well? What about making quality music? Having experience is the most important part, and I don't mean just "I worked on an indie game hire me because I'm your best choice". I mean you really need to make industry-standard quality music, like dannthr and LuIza have been saying. And yes, networking too, because you need to have people vouch for you. You also need credits ("I worked on this, this and this"). But before you even start looking for jobs, make sure you can give positive answers to the questions Dannthr posed before. Do you have talent? If you do, you have a way better chance of nailing a job, but you need to have previously shown that talent in other places; because as dannthr said, they'd be putting their neck on the line for you if you "kinda sorta" have some experience with working on game projects before. EDIT: Or you can be 15 years old and be the only composer your computer sci genius friend and his pals who want to make a game know, in which case you're just god damn lucky. And/or worrying if it'll actually take off or not, but hey, if it's something for my-*AHEM*your portfolio, you take what you can get even if it doesn't pay, no matter how small or unrealistic the project. Unless you're poor, then you really just wanna stick with the realistic stuff.

So you didn't know there was more ports on your piano? I was assuming when you said only 16 you meant ONLY 16.

Mute does work for MIDI Outs, I don't know why it doesn't work for Brian. I just checked, too, if muting would stop sending MIDI data through a MIDI channel. Brian, make sure you're muting the channel in the step sequencer (the little green light/button) and not just turning the volume down. You need to deactivate the channel, not suppress it.

I have no experience with the Phantom Power input on my interface (no microphone, I don't sing or have acoustic guitar T_T) but recording electric guitar is doable for me, listening through FL Studio through Guitar Rig 4 Pro.

Just if anyone's wondering, Audio Kontrol 1 can get 9 ms.

You have extremely bad luck, because I have a USB powered interface and the latency is nothing but workable all the way up to the last overhead setting (multimedia/games). I guess that could say a lot about Audio Kontrol 1. Sure, he's gonna have to lower his buffer rate a little, but with an i7 powered computer buffer rate vs. latency should be the least of his issues. Takes more work to tell me you don't want to than to correct your spelling.

You can change the min and max of an automation clip. You can't broaden it, but you can narrow it down. If the patches you want are within 100 patches of each other, set the difference between the min and max to about (my calculator says) about 78.7% (so do 79 cuz FL doesn't do decimals. Don't worry, won't raise past 100 patches), raising the min and lowering the max to the minimum and maximum patches of range you want for that specific clip. That way, each percentage value from 1-100 gives you 100 patches in your Bank LSB or whatever (for instance i can get patches 15 through 115 as the range in my audio clip). Also, make sure you're setting the Bank LSB as a MIDI Control Knob in your MIDI Out screen for the channel you want to change. You're gonna have to either do some algebra to find out what each patch number equates to in percentage, or just trial and error it to hell.

First of all, the source. You picked an EPIC WIN game to remix. I love UNS 2. I haven't beat it yet, and I've been neglecting to finish it, but I've seen my brother finish it. Great story. I don't like your use of flute/shakuhachi sample... you really need the legato to make it sound Naruto. Otherwise, it just sounds like a dry flute. (not dry in reverb, but in soundscape) Otherwise, good work. As i've said before, I'm not a fan of your intros because they take a little too long to get to the point, but I guess it's stylistic preference. Good production, but I think the main lead synths are a bit too loud. Turn em down a teeny bit.

You need to watch Zircon's MAGFest panel "Making Music: From Hobby to Profession" They talk A LOT specifically about video game music and jobs and stuff.

That might be one of the most important parts. Don't quote me on this, but having a good and diverse portfolio should be a big MUST. Or you can blackmail your potential employer. I don't think it makes sense to rely on a little demo and a few connections to try and nail a job. It might work, but there's no reason not to try harder than that.

Word. Okay, well my suggestion is still sitting in the thread for the OP. Guess I'm done here.

You forgot

I guess it could work that way, but the thing is that would only work if you had the patience to group and name everything. It takes more time, but I agree that it's a bit more efficient/"legible". There's nothing wrong with my suggestion, though, but if it's too hard a concept for newbies then I'll step out of the thread. Good day.

My apologies on the vocabulary mix-up. But what? Have more than one FL Studio MIDI Out go to the same MIDI channel? That's about as cluttered as my suggestion. If he wants to keep using more than 16 MIDI Channels, things are gonna get messy when he has a whole bunch of MIDI Outs everywhere with some muted and some not. He can just have the 16 to know which ones he's using and then put the MIDI Data of an instrument he doesn't want to write for anymore (recording the audio for it, freeing up a MIDI Out) in some obscure pattern number that he's never gonna get to (only by going to it to retrieve the MIDI information). What you're suggesting is workflow clutter. I semi agree that adding another MIDI Out (or some channel that doesn't send MIDI) for saved MIDI data is a bit "ridiculous", but adding a MIDI Out for every additional instrument he wants to send to one of 16 MIDI channels is just as cluttered as my suggestion is ridiculous. If you're wondering how I got this from your post, he wants to use more than 16 MIDI channels. Muting one of them just reduces the number he can use, causing him to create another. That's the only way your suggestion works.

Okay, he said he sends MIDI from FL to his piano back into FL as audio. So why not bounce the audio to free up the MIDI channel and store the data somewhere else so he can put something else in there? I don't understand how it's not a "simple operation". You hit the record button.

Right click your record button and enable automation?

Happy Birthday guys! Cerrax I still need to get revenge on you >.<

Bounce your audio and save your MIDI data somewhere else (in a channel that's not MIDI. Like open a Sampler channel and stick it in there) That way it's in the same project, and if you don't like your bounced audio, you still have the MIDI data and can just copy and paste right back in to edit it. I'm doing this with Cinematic Strings: Monster Staccatos sample library because my computer sucks (and Cinematic Strings is crazy on CPU). I write the string parts I want, bounce the audio, and stick the MIDI in some obscure pattern number in some sampler channel with nothing loaded inside. It plays the wav of the string parts and I don't have to keep Monster Staccatos open or have to send MIDI to it.

I whole heartedly disagree. You need to listen to more Pendulum.

Are you using a sound card, audio interface, or integrated audio? I did some routing on my interface to route the output back into the input with a 1/4" cable and then do crazy stuff in FL's mixer. So yes, all sounds coming from your computer would be sent into FL Studio. There's a better way to do it, i'm sure, but my way works. If you're interested, contact me via Skype: neblixsaber. Otherwise, try a screen recorder. (then cut out the video)

And you're sure the VST is in the right place (C:\Program Files\VstPlugins) and you pressed Rescan in the channel list? If that doesn't work, did you try reinstalling EWQLSO again? I've never used DXi, but a quick google suggests "you must have the latest DirectXMedia installed (it's now included in DirectX run-time installation, that can be downloaded from www.microsoft.com)." To use it in the Wrapper. -<http://flstudio.image-line.com/help/html/chansettings_plugin.htm>

Not pointless, just misunderstood. And I've already said I'm not going to try and reword, because I can't figure out how to get my posts to be clearer. In other words, I'm done here.