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

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  • Gender
  • Location
    Philadelphia, PA
  • Interests
    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
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)


  • Real Name
    Nabeel Ansari
  • Occupation
    Impact Soundworks Developer, Video Game Composer
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  1. PRYZM

    Gaming Internship Help

    First off, for a career primer on what all this stuff is like, there's really nothing more accurate and comprehensive than the GameSoundCon annual survey. Here's the report from 2017: Networking is absolutely the most important thing you can do as a composer (really, as a person who seeks to stay ahead in any industry). As shown in the report, little over half of all reported gigs were recruitments and referrals. I've been presented a lot of opportunities by knowing a lot of people who have things going on. For example, a composer/business mentor I met years ago contacted me recently to tell me he (and even his assistant) is starting to get too busy for the gig load that's coming into his company, and that he wants to rope me in to help out with that stuff and sees my skillset as up to the task. As for groups and places, you really want to join the Game Audio Network Guild, and start attending GDC if you can afford it. They have cheaper Expo passes that don't give you access to audio panels, but don't at all inhibit your ability to network or attend the guild mixers/events. GDC is really the most important networking event for any sub-industry of the game industry. Getting to know the faces of all the people who you're in the industry with is really essential. The Guild itself gives a lot of resources, like discounts, sure, but also things like contract templates for your gigs. That being said, it's important to learn how to network. Do not go around handing business cards and expecting that to do anything, and also don't be that person walking around asking if anyone's hiring. Networking is about building actual relationships with people, colleagues, friends. I essentially go to GDC just to hang out with people. When you meet someone really cool and fun to talk to, it's very memorable. When you meet someone who hands you a card and is like "I write and produce music", it's a massive yawn. Literally everyone else in the room might do what you do, and half of them might do it better. Think of it like this, it's like creating a spider web. You can make a lot of connections and build a really huge web... but it's just going to rip and fall apart when it tries to catch something if all those connections are weak. Even if you have a small web of strong connections (closer to what my situation is like), that web will hold steadfast when something runs into it. The ideal is, over the years, starting with a small one and building it up to a large one, but always keeping it going strong. Lastly, OCR is not a great place to get advice about this stuff. There's not a whole lot of professionals here who are actively in the industry who hang out on these forums. I highly recommend joining "Business Skills for Composers" on Facebook. It's a group of a few thousand people and a lot of very successful guys who like to mentor hang out there. The advice is really invaluable, and the amount of existing material that covers topics like how much to charge, how to network, how to pitch, managing your rights to your work, maximizing your opportunities (whether it be $$$ compensation or planting seeds for more opportunities), etc.are way more than enough to chew on for the first year of career development. It's a very focused group and heavily moderated, so all the content is on point and they make sure all the discussions are productive. There's really no first step I'd recommend more than joining BSFC and reading the discussions, and asking your own questions. Lots of people employ the advice they get there to great effect (for example, people don't realize they can often raise their rates a lot, and companies will accept the price). Here's a great guide that @zircon sent me when I was younger and had no idea what any of this was about. As a final note... from the perspective of networking, your strongest asset is you, yourself. Your personality, your work ethic. When people are looking to hire, spread the word, refer gigs, w/e it is, they don't contact people who are flaky, people who are assholes, people who are unprofessional or not confident, etc. Being a composer is like being a salesperson in some respects. It's not just your product, and it's not just going around posting ads; it's very much about becoming someone people trust and like working with so that these relationship will keep bearing more fruit. You need to develop a personality that people will look at and say "i really like this guy/I really like working with this guy."
  2. Thanks so much! I was trying to bring the influence and elements into a context that was more familiar and approachable for people.
  3. 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).
  4. Monitors are the word for studio speakers.
  5. 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.
  6. 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
  7. 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.
  8. 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.
  9. 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.
  10. PRYZM

    Music Business

    I didn't know "Music Business" was code for PPR.
  11. 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.
  12. Thanks guys! Means a lot from people making music before I ever even came here.
  13. 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:
  14. Definitely why I said getting a sub isn't the best idea unless your room is set-up.
  15. 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.