Nabeel Ansari

Fuck off. You can't hear anything. It's a thread, you were already reading it. I would actually not like this to be the general Zelda thread... I would like for this to be the Breath of the Wild thread. I would kinda prefer to keep "people jacking off over their favorite zelda game and fabricating timeline theories" away from "news and discussion about the new Zelda game". Though I guess timeline theories are unavoidable when discussing the new game (and how it fits in).

http://media.wix.com/ugd/ebb935_109f128500324e33aac33f9a37fb6c9e.pdf This is last year's GSC survey. Has aggregate information on all the happenings in game audio/music. Salaries and such. Look at page 13, it shows the distribution of what method people used to get their last gig. You'll see for freelancers, an overwhelming majority of gigs (around 70%) are acquired through: 1. Referrals ("I'm a big name composer but I can't do this gig because I am busy. You should contact this other composer, she's really good." 2. Past project ("You did great work with us on that game. We want to work with you again.") 3. Other (conferences, networking, game jams, etc.) While job postings and recruitment are much much smaller by comparison. That should be telling more than anything how important networking is. If you build relationships both with people you work for and with other fellow composers, you've got "referrals" and "past projects" lined up in the bag. If you go out and be a friendly person at conferences, you've got "other" in there as well. Don't be stupid enough to think that in order to succeed you're supposed to hawkishly step on other composers and refuse to make friends. You're ending your career by doing that. Additionally, if you have a Facebook, join the Business Skills for Composers group. It has tons of people who've worked on hundreds of games and been doing this for decades who sit there and answer your questions. They will tell you more concrete advice and tell you stories, about how to actually build relationships and work on your people skills.

You're the most disappointing poster on this thread. Just kidding. I thought Skyward Sword was the most disappointing Zelda game, personally. Music was weird and whimsical, world felt really empty (I get it was pre-Hyrule history, but like... come on, there's gotta be stuff in there still). I was not very taken with the personalized goal of the game being between Link and Zelda... kind of made saving the world feel like an afterthought. It was different, sure, but it's hard to get captivated by something that's a hybrid between old save world from Ganon formula and new love story with Zelda, especially with a silent protagonist.

Dropping a previous rant of mine: I'm really miffed that people are comparing the new Zelda game to Elder Scrolls and Fallout because... open world? That's it? It's like people think they invented the concept of open world play or something. There are virtually NO similarities. Gameplay, narrative, aesthetic. Nothing is even remotely similar except for the land being large and you can explore it. Weak.For an actual comparison that draws a real parallel, Breath of the Wild looks a lot like Shadow of Mordor. It's very similar in terms of how you explore; you can navigate these big sectors of the world and come upon enemy encampments. You can mark your enemies, plan your attack, parkour around and climb to get to vantage points, survey the landscape to plan your next route, etc.There are also other elements of action RPG, a bit like Dark Souls. You have weapons, durability, dodges, counters, etc. Besides that it's also still Zelda with things like flying with the leaf. There is a comparison that actually makes sense and isn't just "omg open world it's Skyrim"

Paging @zircon and @djpretzel

MORE LIKE SUPER NOWDIO CART AMIRITE

more like SOONER WOWDIO CART amirite

Like others said, convolution is the culprit, and no orchestral library will fare any better as far as convolution reverb. Instead of investing in a new orchestral library, you actually should disable all the convolution in the library and just get a nice, basic versatile reverb VST. Waves Trueverb is very nice. Easy to control and has a great sound.

Don't know how I fucked that up. I feel ashamed.

https://en.m.wikipedia.org/wiki/Inversion_(music)

Timaeus, you don't need to scientifically explain everything. @Meteo Xavier It turns your MIDI upside down.

Albion ONE's quality completely smokes Orchestral Essentials. What are you looking for? Dynamic orchestra, or just loud orchestra? If you're looking for loud, you should go Metropolis Ark instead. It has the best loud brass tone I've heard in ANY sample library. Their CAPSULE engine lets you apply legato transitions to other articulations as well, which is a cool feature I wish we'd see more of. I spend like that much a year. >_>

SAC is licensed. You can just download the free 5.5.2 player.

What DAW are you using? Some make this easy, some don't.

I saw this; as a non Reason user, every new version entices me to want to play with it. I feel there's a quality of nostalgia (even though I've only tried Reason like once) to it that reminds me of when I was way younger doing lots of Mega Man remixes and having all my remix friends showing me their Reason projects.

Something is affixed the OCR name when djpretzel approves of affixing the OCR name to it. That's really all there is to it. It's how it's worked for... almost 17 years now. No one is allowed to represent OCR with a project without djpretzel's approval. Super Audio Cart was naturally approved by djpretzel, considering, you know, he designed it.

This just in, zircon and djpretzel claim to be part of the OCR community, BUT DO THEY REALLY WHIP THE LLAMA'S ASS?

Personally, I feel it's very reasonable if you consider that a modulation matrix has never been done in Kontakt before (it's been tried but never fully delivered on like a real synthesizer). Let's not forget the host of other big features like deep poly arp sequencer (seriously, this alone you get lost in for hours; drumbeats, riffs, melodies, etc.), the 4 part independent layering system, range-splitting, the quick dice-roll randomizer (whole patch AND per layer), the endless sound design and modulation parameters... you won't find this in any emulation VST. Yes, I'm marketing it to you, but I love this thing, and you should too!

Almost every person who worked on Super Audio Cart has been a member of this community for over 10 years. OCR is not and was never about preserving the romanticism of slaving over art without any compensation. That's stupid (attributing it to OCR, that is). Something you apply for yourself; that's fine, there's nothing wrong with having that as an ideal, but keep it to yourself and don't say nonsense like this "disrespects the community". This was made by our community.

Pretty much. Counterpoint creates a perception of thickness and movement, which is crucial to a big emotional sound. Sometimes I'll write some 4 or 5 part strings in a single Albion string ensemble patch and then port each individual line over to one string section in CS2. The end result is a workflow where I can play string chords and stuff on my keyboard to figure out what I like and tweak all the voice leading in one piano roll and then separate everything at the end to get the legato scripting and dynamic x-fades in there and the obligatory "realistic" ensemble setup. I hate just starting with legato patches because it's monophonic, really hard to draft harmonies without editing 4 or 5 MIDI channels every time I want to see a different chord or voicing or something. I know CS2 has a Full Ens patch; Albion has a better sound to me, so it's easier to be lazy by keeping it in Albion and not putting in the work to transfer it to CS2. xP It's not ridiculous, I've spent much more than that on music stuff. It's about cost-benefit. Granted, now I've kind of saturated my line-up, so I'm buying fewer and fewer things these days.

Why would you use VGA when there's an HDMI port on it ;~;

It's basically when a CPU core pretends it's two cores.

Oh boy. Anyways, the points are as follows: 1) Ensemble libraries are useful to have around, and worth investing in, for speed purposes. Anecdotes from exceptionally skilled/trained composers who've done this a long time don't apply to everyone's skillset. Not everyone is classically trained, or even knows how to write counterpoint or has studied orchestration. Plenty of professionals aren't either. When I say professional I don't mean "high profile grandmaster orchestrator", I mean people who make money off of writing music. There's a lot of them. Like, a lot. A great many of them are not Austin Wintory, or Williams, or Newman, or Uematsu. It's silly to base a career workflow on what extremely talented and trained/practiced people do unless you also have the skills they do. Not everyone writes music on sheets, for example. The point about what you see on sheets is irrelevant; sheets are written for PERFORMERS. Of COURSE they have individual sections laid out, otherwise it can't be performed. That's not what this is about. I tend not to assume everyone is already well-versed in orchestration and counterpoint techniques, especially not in a video game remixing hobbyist community. I structure my replies in threads to address everyone, not just OP. 2) Like Neifion said, the best results of using ensemble patches are with mixing in sections. 3) What's more "organic" from a physics standpoint really doesn't matter even though I disagree with Neifion, because like he said, performance and composition kind of trump this. Nothing with x-fades ever sound good anyway. Legato scripting is a ruse itself and won't stop being one until we move into more signal-based VI models. You can nitpick on what makes something less organic until you realize that pretty much all the current modern options sound pretty good regardless of their relative standing, and we're probably starting to reach a saturation point with orchestral sample library quality. Need to advance the platform/engines before we can move forward; so long as we're stuck on crossfades as the crux of all of our tone and dynamics morphing, we can't really get much better. Maybe more playable/intuitive to use, though. This is not actually a good assumption, because like I said, it doesn't work for everyone. My first orchestral set was CineBrass, CineWinds, and CS2. I tried the section writing thing. I was clearly interested in sectional writing. Didn't work for me. I'm not classically trained, and don't pretend to be to my own detriment. I stopped caring about the potential of the technique I was trying to do and just started doing what works for me musically for speed/creative output. Yes, I am missing out on intricate detail and artistry, but I don't really care, because it takes me too much time and patience, and I can't sustain that workflow, and then I stop altogether. That's worse than writing music that's not as ideal as it could be. I thought it would be worth sharing that with someone before they blow $1000 on something when $500 on something else could be more beneficial for them if they didn't know what the options are. That's not a tangent, that's giving context. Yeah, I'm not a freaking multi-million dollar composer, but I've been doing this a long time and I work in sample libraries. I'd think my opinion is at least worth considering, if even just one person ends up also finding out that mixed section + ensemble libs helps them work better. Maybe I'm overextending much. tl;dr I calls it as I sees it.

You seem to have gone way off on a tangent here.