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Nabeel Ansari

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Everything posted by Nabeel Ansari

  1. https://www.reddit.com/r/Undertale/comments/3onbmq/what_software_does_toby_fox_use_to_make_the/
  2. Real-time computer performance is dependent on how fast your devices in the computer communicate with each other. You have a good processor, and 8GB RAM is plenty, so it is likely that if with max ASIO buffer you audio dropouts, something is deficient in your computer.
  3. It doesn't have explicit slap samples, but it has very aggressive loud notes and they have similar tonal content to a slap. So you won't get super funky fresh slap riffs, but you can still have loud, accents that sound similar. Listen to the demos, and you'll see what I mean.
  4. I'm actually kinda tempted. I'd need to save a little extra money though; so I'll ask again in a month if you haven't found a buyer by then.
  5. I just call it MAGFeast, I mean food is half the reason I look forward to MAGFest.
  6. The songs (well, most notably "Black or White") from Dangerous (which was a 90's album) and his subsequent tours and music videos were incredibly successful. Yeah, all of our favorite hits (Thriller, Beat It, Smooth Criminal, Bad, etc.) are from the 80s, but he was really prominent and successful in the 90s too.
  7. Writing bad music is actually the only way to eventually write good music. Ideas can bottle up in a queue, so even if your latest creative impulse sounds like crap you need to give it creative due diligence and do some work on it until your muse is ready to move on. Writing more frequently (short pieces every day, for example) helps because you'll cycle out of the bad stuff more often. Then as you grow this keeps happening to you but the general quality of your stuff trends upwards. So you still cycle through what you perceive is good and bad, but your now bad is actually pretty good. In other words, you'll most certainly get better, whether you think you are or not.
  8. "The credits roll, and Michael Jackson's music plays." Man, I started tearing up reading that.
  9. Who's complaining? Complaining and ridiculing are completely different concepts. Why are you even in this thread?
  10. Here's a good one. http://downloads.izotope.com/guides/iZotope-Mixing-Guide-Principles-Tips-Techniques.pdf
  11. Well... no. Not DAW's. A DAW is a "digital audio workstation". It simply facilitates a vast feature set for manipulating and producing audio. All DAW's perform mostly the same functions, and some DAW's have better implementations for certain kinds of functions. Your choice of DAW depends on which of those functions you find valuable. For example, most of FL's workflow (in the arrangement timeline, automation, track/channel management) is really poorly designed and inconsistent (it basically via interface feedback rewards clutter and you have to spend years learning how to beat it into submission), but it has a great piano roll and a really easy routable mixer. Pro Tools is extremely efficient at editing and processing waveforms, as well as creating recording matrices for I/O, but does not have a good piano roll. Cubase is really good at MIDI editing. Studio One's mixer actually kind of annoys me because there's no polarity switch on the mixer channels. Little and big things. If you want to write different styles of music, you have to learn how those styles work compositionally. Once you grasp the fundamental concepts of the instrumentation for a style and how it's written, then yes, you can then go out and look for sounds that satisfy those instrumentation requirements. There's lots of stuff out there in the VI market, and you can get really specific with what kind of sound you're looking for (for example aggressive electric bass vs. smooth electric bass, or nylon vs. steel acoustic guitar) and you'll be able to find something. Then if you were to identify that say "I work with a lot of orchestral VI's and spend most of my time in MIDI automation" you probably would want to pick a DAW that's good at MIDI editing. Or "I record live performance and instruments a lot" you probably want to pick a DAW with decked out recording features, like take selection, layers, easy compositing, etc. Or, say, you want a DAW with good creative features, you'd pick something like Cubase with its chord track. No one DAW does it all, unfortunately. I primarily favor Studio One right now because it makes most of what I do really fast and painless, however it's still new and lacks big defining features. Track templates like in Sonar, FL's MS Paint style draw tool, Cubase's chord track, a god-damn phase reverse button, etc. If it had all those things I'd be set for life.
  12. It's not the poses themselves rather than the fact that they're 3D rendered and anatomically questionable. The joint placement definitely sits right at home in uncanny valley. If you're asking why I say "cringe-worthy", it's because I find uncanny valley stuff creepy and creepy stuff makes me literally cringe.
  13. This isn't the recipe for every JRPG field theme, but it is for my favorite kinds; you need a very driving repetitive hook. This is a riff, short chordal phrase, guitar pattern, etc. You'll hear it a lot over the course of the song, and it should jive very well with the main percussive rhythms if there are any. You want to establish rhythmic motives; it's like a kind of rhythm or pulse that every measure has, that all the instruments kind of conform to. Once you have your groundwork, you should have your hook and motives be able to sit by themselves, because you want a lot of the action to be able to sit there. When you're ready to introduce the melody at key points (or just periodically), do it on a nice solo instrument that can cut the mix. A whistle, flute, violin, etc. Give it a good classic phrasing structure (halfway point on dominant, ending on tonic, or dominant again for continuous looping).
  14. You need to work on your orchestral sample use. The staccatos are incredibly repetitive. Add dynamics!
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