Nabeel Ansari

Don't compare yourself to those better than you unless you want to swallow your life into it (music) to keep improving. If you don't have a competitive resolve, one that makes you motivated to constantly get better, you will find despair in comparing yourself to people who are better than you, because the thing is that there's always someone better than you. Focus on you and getting what you want out of music. I've been hooked on Urobuchi lately

Follow zircon. He's just wrapping up on orchestral fantasy score for a game called Dungeonmans.

I'd do the same for you but you'd still be the only one commenting

No one comments on my mixes regardless

You're against Shield Knight.

He makes a social group for it you can join. OCR forums have that capability (weird, right?). It has its own little private threads. He didn't make it yet, though, looks like.

If that's how you feel, then why did you take up a slot in such a small roster?

I'm at 2:48 here. Was out for the weekend so I didn't spend as much time as I would've liked on it, but I'm still pretty happy with the result and it doesn't feel like it needs to be longer.

If you ninja ask Larry to change your name nobody will suspect a thing.

oh oh man i just uh, got some inspiration

This isn't really a problem since we don't need new JRPG's. The genre is as saturated as FPS games.

Forgot to address this, but yeah. If you're worried about this or don't have experience dealing with it, stick with the number 1 group of mics in my post. You don't even really need the room mic if you have confidence in your own reverberation tools.

If you were ready to spend loads of cash, you ideally want a LOT of mics. But I'll start small and get bigger. 1. One for the room, one for right in front of the ensemble. 2. Expanding from that, give one mic to each family of instruments. String mic, woodwind mic, the horn mic, and the piano mic. 3. Expanding from that for even more control, give every instrument their own mic. The idea is that if you want to turn something up or down, like the "strings", just turn its mic down. If you want to turn the strings down but accent the violin more by raising it, you also have that capability. This way, you're not confined to adjusting a family all together but you still have that option if you're lazy or want to do more general adjustments. The third group of mics I suggested is EXTREMELY PEDANTIC. For budget constraints or fear that you have too much control to know what to do with, then instead of doing it for every performer, maybe just do it on the important ones. One on the violin, one on the horn. On bigger ensembles with repeated instruments, you may only give one of the violins a personal mic, because one is all you need to get an accent to cut through a mix. Also, knowing good mic technique is important, so I recommend looking at what Shaggy posted. You don't have to master that document right now; you'll notice marginal improvements to your recordings by even just skimming it and getting the general idea. Good recordings are the most essential thing, because if you don't get them everything you do in post will be patching small band-aids on gaping wounds. Biggest things to consider in multi-mic sessions are leakage and phase relationships. Sometimes your recordings will set better together just by inverting the phase of some of them. Phase cancellation has a VERY powerful effect on timbre.

"legit gamers" lol

Full Sale Music is mad sketchy from what I've heard.

Count me down for singles.

Video Game Composing and Music Technology Engineering. Also being a Professor of Music would be nice.

I see my brother at least once every couple weeks these days.

I don't agree with any sentiment of cutting out sub. Sub is not "pointless", just because you can't hear it doesn't mean it isn't there. It doesn't mean you can't feel it. Any mix you create will feel weak compared to an actual professional mix when you listen to it on any sound system that isn't your headphones. If anyone tells you that sub is "pointless", they don't know what sub is. Sound is vibration, loud vibrations at 20-30 Hz is where physical power comes from. Ever been to a movie theater? Heard an explosion? All sub. Music has not just the power to move us emotionally, but physically as well. This is why expensive sound systems still exist and it's why people still go to concerts. It's not just "principle", it's a different physical experience. It's fine if you don't want power in your music, but before you tell someone to cut sub you need to provide a disclaimer that you personally don't care for sound power, because then you're skewing your advice to a particular mixing style without making that clear. It's harmful to give people rules without understanding where they come from.

Spectre Knight King Knight Mole Knight Tinker Knight Singles.

I WILL BRING MY OCARINA (no I have not gotten any better at playing it since last MAGFest)

You seem pretty quick to judge someone based on the fact that they got killed in an NES game

Like Moseph said, nki's are the Kontakt file format. You'll need to buy Kontakt ($400) or buy Komplete ($500 including Kontakt and tons of other products in a bundle) to use it without restriction.

Right, but we're not talking about changing the instrument that the soundfont player is set to. We're talking about changing the sample being played in the midst of its playback. If you read the OP, he wants to do this to simulate a modulating filter. I'm not telling you that discontinuous audio occurs when you cycle the program number. I was never talking about that.

What are we talking about then? Because until you entered the thread, we were talking about swapping samples using the modwheel mid-sound. This gives rise to discontinuous audio. Sound discontinuity is when the end of one thing doesn't align with the start of the next. Not sure what you're confused about. It's the same reason you can't swap out your impulse response in a Convolver plugin during live playback without a glitch occurring. It's relying on static periodicity (in other words, it pretends it's been repeating back to infinity and will continue towards infinity), and when you change it, the next thing you have relies on its *own* static periodicity. This causes a phase issue and thus start and end samples of each segment don't align, causing a pop.