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    Pikachu (+5000)
  • Birthday 11/02/1995

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    Philadelphia, PA
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    Music, Mathematics, Physics, Video Games, Storytelling

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  • Collaboration Status
    1. Not Interested or Available
  • Software - Digital Audio Workstation (DAW)
    Studio One
  • Software - Preferred Plugins/Libraries
    Spitfire, Orchestral Tools, Impact Soundworks, Embertone, u-he, Xfer Records, Spectrasonics
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
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    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)


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    Nabeel Ansari
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    Impact Soundworks Developer, Video Game Composer
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  1. Thanks so much! I was trying to bring the influence and elements into a context that was more familiar and approachable for people.
  2. PRYZM

    Hiring of Musicians

    I think if you had this idea years ago when this community was musically active (instead of just socially active), it would've caught on. Now, the forums are dead and submitted OCR remixes are from people who don't really necessarily even really hang out. I think also with the existence of Materia Collective, the idea of a supportive community of available live musicians is kind of already filled and there's no need to try and get that started on OCR. Furthermore, the reason Materia attracts musicians is because they do licensed, paid work. Their albums are commercial, paid albums with digital distribution to stores like iTunes, Spotify, Pandora, etc. OCR remixes are only ever free, never distributed, and the copyright issue is kind of always a grey area. I've wanted to collaborate with some Materia musicians in the past and they've always sort of shyed away from it, hinting at the fact that making music for OCR doesn't really seem like a good use of their time because it won't net them anything. If I wanted to invest in getting good performances in my music, the OCR submission would be a secondary concern, not the primary. Our few paid albums would be the exception, like Megaman 25th Anniversary, Crypt of the Necrodancer, and the Tangledeep Arranged album (not sure if this one is "OCR", but most of the artists are OCR anyway so I included it).
  3. Monitors are the word for studio speakers.
  4. I didn't listen to the track on DT 880's, I listened on my monitors. The loud treble in your headphones makes you mix the treble too quiet, and it's easy to see when checked on a different sound system.
  5. PRYZM

    Music Business

    Yeah you're right, I've done that plenty in the 2 years i haven't said a word on this forum
  6. PRYZM

    Music Business

    I think you're really overreacting and not at all responding to what John is actually frustrated about. He's talking about the decline of music education curriculum in schools, not the moral consequences of pop music being popular. It also sounds like you're bringing a lot of "everything is elitist bullshit" baggage into the conversation when it's completely unwarranted. People don't deserve to be antagonized just because they think artistic standards are valid, and you're kinda framing that whole camp as a sort of angry mob when they're not. I mean, unless your frame of reference for "people who care about art" is something like... youtube commenters.
  7. First off, like I said, 32 Ohm has a different response than the 250 Ohm, so off the bat you're not getting a truly accurate experience here; in fact, every pair of headphones is different. You see the blue smudge surrounding the blue line that's the response of the headphones? That's the deviation of just 250 Ohm DT 880's. You'd have to send your headphones to Sonarworks for them to measure it to get an exact calibration (I find the avg. is good enough since I have other ways to reference, like monitors and another dope-sounding pair of headphones). It sounds like you're just used to your headphones giving you very shrill highs. Listen to a lot of different music on the adjustment and your ears will get a better sense. You can not switch a frequency response profile in just a matter of minutes and not expect to be disoriented. I wouldn't really reference your own music at all, in fact, you should treat this as an opportunity to see issues in your past mixes. It's like doing a digital painting on a crappy cheap monitor and looking at it on a top-dollar calibrated IPS... all the colors are going to look hella wrong, nothing like what you wanted. Just listening to your Time Traveler track on my monitors, which have no calibration shenanigans at all, the treble does sound pretty weak. So I think a lot of the issues you're hearing are the mix quality, not the calibration screwing up. Also, just remember to turn off calibration plugin completely, using DAW Bypass, before rendering the music for other people to listen to. Calibration is for your ears only. I can't stand the sound of uncalibrated DT 880's anymore, since there's so much low end missing and the high end sounds like it's shrieking compared to a natural response (like on my monitors). If I toggle the calibration OFF, I'm like "oh god, the mix died, and its ghost is trying to hunt me down and kill me". That being said, I never keep the compensation at 100%. There's a dry/wet knob right in the program, and I usually do around 80%. I get a little bit of the sizzle back (personal taste), and mostly keep the newfound bass response, and the low and high mids are about even. It's a good compromise. As for volume, because it's EQing your final signal, it has to reduce volume, essentially equivalent to how much is being boosted across the spectrum, otherwise it would clip. You can toggle off "Avoid Clipping" right under the output meter, but I wouldn't advise this, because... why clip? The idea is simply you just set a new monitor level for your whole system once you're running calibration on everything. Lastly, yes you can EQ it yourself, but use a linear phase EQ or it'll screw up the sound a lot. Also, you know... you could just not, Andrew Aversa (zircon) has mixed pretty much exclusively on uncalibrated DT 880's for like a decade now. His mixes are well-balanced because he just knows what a good mix sounds like through them. Personally, the uncalibrated DT 880's pretty much defined what people told me they didn't like about my mixes; my low mids were scooped out, the bass was too strong, and the high mids are harsh. Surprise, all of that is compensation for the bad response from the headphones. I like an even, full response because I think that's a good way to listen to music, and I am hearing what studio engineers hear when they mix all my favorite records, and it's a closer response to proper studio monitors in a good treated room.
  8. You’re the first person to call out Colour of Time, which makes me really happy because imo it’s my favorite piece on the album as well.
  9. PRYZM

    Music Business

    I didn't know "Music Business" was code for PPR.
  10. A soundcard does not free CPU load from your projects, most of the time. You have to buy more expensive soundcards with on-board DSP (basically VST's that run only on the soundcard processor) and then use that on-board DSP instead of any other vst's to free CPU load. A soundcard also doesn't improve sound quality that much if you're not experienced. It will, however, improve noise level by a lot, and using proper ASIO drivers made for the soundcard will make your projects able to handle more instruments and effects, CPU-wise. The choice of headphones (DT 880) and DAW (FL Studio) doesn't matter at all when choosing an audio interface. As for the 32 Ohm, in my experience they'd get much noisier much more quickly. You have to drive more level into the 250 Ohm, but the noise level is way better. This is testing both resistance levels of headphones in the same exact headphone jack on my interface. The 250 Ohm also has better frequency response, but you really want to pick up Sonarworks Reference 4 (headphone edition) so that you can correct the frequency response and get all that bass back. DT 880's have pretty weak bass and very shrill treble, Reference will flatten it out nicely.
  11. Thanks guys! Means a lot from people making music before I ever even came here.
  12. Hey guys, After 9 years being on OverClocked ReMix, basically starting to my musical adventure here on the forums (first as Neblix, moving on from that name to my real name, then starting a new brand), I'm proud to finally release my first album of original music, COLOURS. Bandcamp: CD Baby: OverClocked Records: Will also be coming to all major storefronts in the coming week, including streaming platforms! It's already available for free on YouTube and SoundCloud at low-quality streaming. COLOURS is my debut album wrapping up my early young adult experience and entering the world as an independent creative and engineer. With this album is the introduction of the PRYZM, my metaphor for the assimilation of different influences across the spectrum of music. Music can be expressed in many different ways, and my motivation to compose is to learn all of these different expressions and merge them into my identity as a composer. You can also grab my new social media pages to stay up to date with new music! OFFICIAL WEBSITE: FACEBOOK: TWITTER: YOUTUBE: SOUNDCLOUD: TWITCH.TV:
  13. Definitely why I said getting a sub isn't the best idea unless your room is set-up.
  14. PRYZM

    Fl studio

    I think it's more like they have a good point that MS Paint style left-to-pencil-right-to-erase is a pretty good way to do it, but having lived on both sides for a good amount of years, and having been evangelical specifically about FL's piano roll, it's really not the dealbreaker they make it out to be. I think people in general underestimate their own ability to adjust to different workflows.
  15. PRYZM

    Fl studio

    Most DAW's have parametric EQ's with visualizers. Patterns are nice but constricting when they're the only option; S1's implementation of patterns are better because they're optional. (the rest of this point is just an opinion, can skip) Patterns only work for all types of music after a few years of learning how to work around them to write what you want (in other words, not outright prohibitive, but an annoying philosophical hindrance). They also leave 0 parity with the arrangement view. In other DAW's, when you create a MIDI clip in the timeline, it exists there in the timeline; when you automate CC in the piano roll, it's the same automation displayed in the timeline. In the piano roll you can just see everything on the track across the timeline, not just the clip you have selected. This allows for a more comprehensive and holistic view of your music instead of thinking of it as a complex combination of independent objects, which rarely works unless you're writing electronic music. When working with patterns, you're constantly doing mental bookkeeping to remember how the pattern object fits into the rest of the music, because the piano roll sure as hell isn't going to tell you. The little mini-preview they added helps, but it's still a flawed design. Every single DAW has a piano roll. Couple other DAWs' ghost note implementations are vastly superior to FL in that they don't require you to funnel all your part-writing into a single pattern object (making it useless for arrangement view, since it's just a single-track jambled mess). Additionally, a DAW like S1 actually lets you edit the multiple midi channels at the same time, instead of only being able to view them. This is pretty crucial when transposing or altering chords across several patches at once. Literally every DAW has a duplicate bar function. In S1 you just highlight notes and hit D. DAW's like Reason also have mini playlist views. FL is like the last DAW to have allowed good time sig changes. Am just responding to "most of which I don't see in other DAW's", it's more like the other way around, most DAW's have most of these things except some key differences like lifetime free updates, and then patterns, which I don't think is really advantageous at all to anyone except people who have it as their first music production experience. And even then, not so much, did it for 8 years and then switched off and never miss it. There's nothing patterns can do that other DAW's can't. There's other stuff I don't miss about FL, like the amount of clicks it takes to do stuff. Setting up multi-midi channel samplers is freaking horrifying. In S1 it takes about 4 or 5 seconds to get 16 Kontakt MIDI channels and 16 corresponding mixer outputs. Also, lack of native MIDI support in that area, having to link your controller's knobs to manually configured CC knobs inside the MIDI out channel just to get stuff like modwheel and sustain pedal? Ridiculous. Also, applying FX to audio clips is something lightyears faster in S1, you can just put FX on the clip itself, and then print in place (good for sound design electro segments). In FL you have to assign the audio clip a mixer channel. There's also that horrid behavior where you can slice stuff but they're still part of that one "clip" object instead of splitting into independent data. Audio editing in general is bad in FL because everything is abstracted into clip containers, and doing simple volume crossfades between two overlapping clips is a whole ordeal instead of hitting something like "X" in other DAW's. Don't even get me started on "automation clips". It just seems like everything I'd want to do in a DAW takes extra effort to pull off in FL Studio. I get that people really like it and are comfortable with it, but you can work with anything to create great music. The usage and the users are not a testament to good design or learning curve. So I'll never recommend FL to anyone, but I'd never be bothered if I had to work with someone who used it, since I'd trust them to know how to coerce the spaghetti to get a good result.