Nabeel Ansari

Impact Soundworks proudly presents SHREDDAGE 2 IBZ, our latest and greatest virtual guitar for Kontakt and Kontakt Player! IBZ features an all-new 7-string guitar drop tuned to G, recorded DI/clean with all key articulations. In total the library contains over 13,000 samples - over 50% more than our critically-acclaimed Shreddage 2! With this incredible sampling depth, combined with a brand new engine scripted from the ground up, you can truly create ultra-realistic rhythm and lead performances. KEY LIBRARY FEATURES * Pristine 16 & 24-bit samples of a legendary 7-string metal guitar * Bright, biting and aggressive tone ideal for rock & metal playing * Single notes, powerchords, up to 4x down and 4x up strokes per note * Tuned to drop G - all frets sampled on all strings * Sustains, staccatos, pinch squeals, harmonics, hammer-on & pull-off articulations * Up to 6 layers of palm mutes per note (from super-tight to loose) * True portamento slides, tremolo, pick/neck scrapes, fret noise + release sounds DEMOS https://soundcloud.com/isworks/sets/shreddage-2-ibz-demos NEW CUSTOM SCRIPT ENGINE We've been listening to customer feedback for years and incorporated it into a completely redesigned and rescripted Kontakt engine offering more realism and flexibility than ever before. * Much-improved visual fretboard, picking, and playing behavior * New "Economy" picking mode * Completely customizable keyswitches and special functions * Articulations mappable to keyswitch, velocity, OR MIDI CC * Powerchords now assignable as an articulation * New "advanced" tab with tons of deep engine controls * Double and quad-tracking, plus new stereo double-tracking from a single patch * Built-in custom FX chain with amp/cab stack - no external plugins required VIDEO OVERVIEW & DEMO WALKTHROUGH PRICING & AVAILABILITY Shreddage 2 IBZ is available at the introductory price of $99 for Shreddage 2 owners. It operates using the Shreddage 2 license, and so it DOES work in the free Kontakt Player! If you don't own Shreddage 2, you can purchase IBZ for $119 - this too will work in the free Kontakt player. But hurry - intro pricing ends October 10th! Read more and get Shreddage 2 IBZ here: http://impactsoundworks.com/products/guitar-and-bass/shreddage-2-ibz/ (Also, Nabeel here, check out my demo Blood Lunacy! A heavy harmonic and rhythmic original track inspired by my favorite prog metal band, Animals as Leaders)

I find it silly to consider going from orchestral to electronic as musically "growing up". Electronic music doesn't require a fraction of the work, training, and thought that orchestral writing (and production) does.

Well, maybe. If it's a technique focused level (and not a game level, where it teaches you how to play itself through good design), then messaging for technical advice is often a good idea, else you bang your head against the wall trying to figure out a specific maneuver by yourself. The point is to practice the execution, not to figure out how to execute.

community mod relationship goals

Ah, so music over the phone is the novelty here; OCR music is just a fun side thing.

Yes.

U won't

I'm genuinely confused, is there a context for this? I'm a bit younger, so maybe I'm out of the loop. Was being able to call in to hear music ever a thing back in the old days of phone operation? Is this a nostalgic kind of thing? Or is it just a cool idea you had, sort of a proof of tech concept? I'm just curious, is all.

They're bumpers. Because it's, you know, pinball.

You can expect me, 3rd Strike, and possibly more "How To ReMix" panel goodness.

A different mindset that I take with this that others are going to disagree with: If you don't know how you want to remix something, don't remix it. Trying to force a track where you have no idea what you want it to sound like is not an organic process. Get better at writing and learn how to wield different styles effectively. Make sure you *enjoy* these styles, too. If you know what a style sounds like, you're more likely to be able to hear a certain song and imagine it in that style, and that ability is the foundation for starting your arrangement. In my experience, arrangements that were born out of request or specification (I need to remix [insert name here] tune for project/compo/because I like it) always paled in comparison to arrangements born out of initial ideas ("The Fire Emblem theme from Smash Melee, but cranked to 11, and with orchestral part writing in the bridge!") That's not to say you can't have inspired ideas in projects/compos/picking your favorite tunes; you definitely can, and you should enter compos to exercise that. But even in compos, I've had a few instances where I simply just was unable to think of a clear idea on what to do and was essentially forced to output a grinding of the gears, so to speak. I had to completely revert to mechanical, theoretical understanding without enjoying what I was writing and just do "the melody" and "the other melody" and "making sure the harmony is correct" and "adding cymbal transitions" and then mixing it together. I've also committed to projects and then left after picking a cool source and not actually thinking about how to arrange it. This runs true in many other mediums of creative output as well. A similar sentiment is shared in screenwriting. The top screenwriting books will always tell you that you have a hot concept if you can describe it concisely while capturing the essence of it and differentiating it from what's already out there.

Welcome to FURIA Staccato Strings, our newest orchestral Kontakt instrument designed with just ONE thing in mind: ensemble string staccatos. With a tiny memory & hard drive footprint, streamlined interface, and great sound out-of-the-box, Furia is a fantastic addition to your orchestral template. We created this library because the sound of unison string staccatos is a film/TV/game composer's best friend. We use them for everything from sonic punctuation to bombastic melodies when layered with brass, and they are a building block of epic, over-the-top trailer music. Naturally as this is just one articulation, we're offering Furia Staccato Strings for the list price of $39. But we've created a special discounted price as well: free, with the purchase of $59 or more of other instrument(s) on our site! In other words, if there is a library priced $59 or more on our site you've had your eye on, now it's a no-brainer! Just add the other items first along with Furia itself, and use coupon code "FREEFURIA". Features * Unison 22-piece string ensemble staccatos * Up to 16x RR variations * Ensemble multiplier from 1 to 8x * Extremely lightweight, streamlined & easy to play * Close & hall mic positions * Convenient offset, timing, and envelope controls * Built-in FX rack with 30+ impulse responses Demos https://soundcloud.com/isworks/sets/furia-staccato-strings-demos Video Walkthrough Requirements * 200mb disk space * Kontakt 5.3 (full) or higher

OOPS

Nothing you set inside of Kontakt affects how Logic's engine distributes processing. The DAW is what matters here, not the VST. Think of a boss distributing work with a confidentiality and non-compete agreement. If the boss loads all the work onto one guy, he's screwed; can't contract or outsource any assistance (because company trade secrets or whatever, don't think too hard about the analogy). But if the boss hires more actual employees, he can distribute the work among them. Of course this is different in a DAW like Studio One, which distributes multi-core processing load onto VST's.

Correction, Spitfire Albion is pre-orchestrated. The entirety of the Spitfire BML line is all instrument-based, and quite a line-up it is.

*sigh* Guys, the point is not that it's some kind of innovative practical MIDI analyzer. It's just a cool visualizer, it lives on the web and it has drag and drop. That means everyday people can pull this kind of thing up and have fun with it. They don't have to download shit, or start new song projects and launch some software just to have some pretty animations happen with music. Think smaller, like "pull it up on the iPad and have like 3 minutes of fun" small. Not "run to the workstation PC because you want to see some QUALITY MIDI DATA PLAYBACK".

http://www.cambridge-mt.com/ms-mtk.htm

Haven't gone in a couple weeks, but I went yesterday. Maintaining my bench at 65lbs. for incline and 75lbs. for straight and decline. Stepped up to 95 lbs. (45 + 25x2) on my squats for two sets, felt real good. I can't really move anymore. Did an extra set of shoulder press at 40lbs, so it's time to work a 50 lbs. set in there.

Why don't we just write new soundtracks that are hybrid fusions of each soundtrack a week is fine for that, nbd

Hey Gais, I'm mixing something on my ATH M50x's and it sounds great. The problem is, when I listen on my Bose PC Speakers or my earbuds, the mix sounds terrible. What does this mean, and how do I take steps to avoid this from happening?

I would partake if the schedule was monthly.

Like Jorito said the concept is cool but it requires a lot of critical thinking on the part of the artist, which requires time. I know not everyone is like me who can write a track in 12 hours, so it seems like a week's time is not enough to plan on arrangement. The biggest difference is that there's no stylistic restriction in the other tournament competitions that are run. Here, the point of the competition is the stylistic restriction, and I think that would be very difficult. You may generate interest, but the results may not turn out great, or may not even turn out at all. I think this is compounded with the fact that a lot of remixers do electronic/rock oriented remixes, and having to say, emulate an RPG soundtrack might be the contestant's first foray into acoustic part-writing. That's just an example, but my point is being a style-versatile composer/arranger is really hard, and requires a certain proficiency (in either formal or informal) music theory in order to analyze a style and figure out how it works in such a short time. And also write in it. Even just changing the instrumentation, if nothing else, requires knowledge of those instruments that the contestant might not already have. If it's supposed to be a learning experience, then yeah, it would be great, but maybe make it biweekly, and offer critiques along the way to people who need it.

This has already been answered, but yeah, it's their album, and they do own it. I'm a remixer on the album and I had to sign a form about it. Basically, without all the legal speak, I signed away my derivative work rights to OCR. I assume then OCR, with all the derivative work rights to every track, signed them away to Capcom. Capcom now had all rights to the music. Then, Capcom (generously) gave licensing rights to OCR, and then the album was sold on iTunes and such. It's now their music, and they own it about as much as they own any other Mega Man arranged sound track album.

Capcom doesn't really need permission to use music that they have the rights to. xP Trailers generally don't ever credit the composers, so it would be odd if they did.

No one suggested relying on theory to create, so the premise of your contribution to the thread is unfounded.