Nabeel Ansari

Well, yeah, it's not "sometimes" though. Every summer, upgrades, updates, and crossgrades are half off.

Kinda has to do with this forum, since I want to make music production tools. Anyways, anyone have a recommendation for a good audio programming book? Something that isn't afraid to get really math-y, but also provides lots of audio world context and possibly contains projects/practice examples? I'm already familiar with and have written code working with transforms and convolution, so I understand the basic theory concepts behind complex exponentials and DFT. I would prefer something with theoretical explanations instead of just "here do this crap and cool sounds come out!" EDIT: I ended up ordering: http://www.amazon.com/Designing-Audio-Effect-Plug-Ins-Processing/dp/0240825152 It's a book with both a bunch of audio-specific exercises and still a decent amount of theory behind it.

To clarify for other people, he's covering the piano version of the FFVII battle theme. i.o.w. it was a pre-existing piano arrangement (official, it was featured in the FFVII CGI movie) and he added his own stuff to it.

Perhaps a screenshot of your result would suffice. (like, a comparison between what gets put into your piano roll vs. what you want it to look like)

You need to specify what's actually going on or there's no way to help you. Check your latency?

I am by no means a graphic designer/artist, but I think the font could try to be a little more OCR style. What it is right now seems not dysfunctional on its own, it just doesn't feel very "OCR" to me. This is my really poor mockup of a direction I could see fitting better, the letters more match the font of the titlebar. I'm not sure if you guys are set on the new favicon or not, but there's my 2 cents.

Do you not know how Kontakt works, Timaeus? If you don't have the full version of Kontakt, you can't run 3rd party unlicensed libraries without restriction. An .nki loading up as "DEMO" means he doesn't own the full version.

This agrees with the idea that a general effective technique in music (throughout centuries, really) is beginning with more accessibly written material (more tonal, less dissonance), following with tonally turbulent material (changing or lacking tonal center, more dissonance), and then restating the earlier material (with possible modification for ending, or it stays the same like in rondo form). It just so happens that in jazz, the middle section (all the solo choruses) takes up the large portion of the performance time. Also, I like that Song of Storms jazz remix. The accompaniment reminds me of Coltrane's cover of My Favorite Things (that's where my ear wants it to go).

Saxophone and trumpet solos are literally the greatest solos in jazz and you are literally Hitler for not liking them

Looks like you're into "dixieland" (jazz style), then.

Gonna go against the grain here and not name fusion jazz (I'll post like one example for each but they were REALLY prolific): Bobby Timmons - Miles Davis - http://www.youtube.com/watch?v=TzDc95WRa8Eh5c John Coltrane - Dave Brubeck - Bill Evans - http://www.youtube.com/watch?v=_IafnG-A5mU Duke Jordan Trio - Also lol at "restaurant" music. That's kind of an entire century you're glossing over and lumping into that one specific style of jazz. For decades jazz music was considered "pop", it was the dance music of the age. If you can't find jazz with a groove you're honestly not looking ha-... yeah, not looking.

I might try for dat Omnisphere if it's still around by the end of May... EDIT: Nevah mind

Glad to hear. Personally, I want to see more of this in games paired with Oculus Rift. Immersion to the max seems to be where game tech is trying to go nowadays.

We have a few DSP grad students on the team and yeah, we've been scrounging Google for HRTF implementation stuff. There's decades/tons of research, experiments, math analysis, but as far as code/computational examples, the only ones we can find are commercial game/sound libraries. We're creating our API under LGPL/MIT type license and we want developers to be able to commercially use it without restriction or fees, so we can't make use of anything that isn't free and completely open. This may end up being a case of us writing our own implementation. We have the team for it, we just need to evaluate what's the best option. One thing I can say is that we're not at all going to plan on speaker support; as you said, HRTF stuff just gets way way messed up. We're targeting mobile games (people with ear buds) and PC games (PC gamers usually have headsets or phones)

Kontakt samples are compressed.

Hey guys, I'm working for a company and we're developing an open source C++ API for game devs. One of the big features we're going to implement is Binaural Audio (3D HRTF-transformed to stereo) and I was wondering what kind of impression Binaural Audio has in the general community. I'm talking about stuff like the . Think combining it with Oculus Rift; very immersive. We're also targeting mobile games. Think GPS, large-scale social audio games (travelling to and from sound sources, for example)Have you ever tried it, heard of it, worked with it, tried to create it, etc. Tell me anything even if it's just "This is a cool idea!" or "This is a terrible idea!", because I'd like to know about the awareness level (that this is something games can be doing and are starting to try).

Buy a TV and mix on it.

So basically you just said I don't really have to listen to you because I can do what I want k thanks

It's more of a moral consciousness thing. As a programmer and composer, I am likely to respect other composers and programmers, especially in the case of using something they make so that I can make money off of it. This is why all of my stuff is 100% paid for or otherwise acquired through things like "FREE FOR ONLY 2 DAYS"

When making music for media, you have to reserve parts of the sonic space for other elements of the medium. In both games and film/tv, this means dialing back more common frequencies of every day life (voices, maybe city background noise, gun sound effects) to make it so that when someone is trying to mix in dialogue and SFX they don't end up just slapping a tone-shaper EQ and scooping out a huge range of your song. Listen to the Lord of the Rings soundtrack. It fits into the movie without a meaningful amount of EQ shaping because it's written in a way where it doesn't fight for the sonic space of swords clanging and people yelling. Specifically, you're dealing with a game that has a lot of punch in its sound effects. EDIT: After reading your OP I realized that my and most other replies aren't even close to answering your actual question. I'd get in touch with the devs and get an answer from them.

The commercial limitation is a dealbreaker. I have no need for libraries I won't be able to use in a professional context.

How ironic.

I dont kill people

Maybe instead of speculating and dissing a whole company you should wait for the full story. And yes, I think it would be a good move for 343 to grab him for the next big game.