PRYZM

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About PRYZM

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

Profile Information

  • Gender
    Male
  • Location
    Philadelphia, PA
  • Interests
    Music, Mathematics, Physics, Video Games, Storytelling

Artist Settings

  • 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
    Lyrics
    Mixing & Mastering
    Recording Facilities
    Synthesis & Sound Design
  • Instrumental & Vocal Skills (List)
    Piano

Converted

  • Real Name
    Nabeel Ansari
  • Occupation
    Impact Soundworks Developer, Video Game Composer
  • Facebook ID
    100000959510682
  • Twitter Username
    _nabeelansari_

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  1. I worked a little on Palette, it's really good for its price tier, so the free version is a no-brainer for sure.
  2. The Impact Soundworks Ventus Ethnic Winds collection is on sale for 70% off right now! https://audioplugin.deals/ There's 5 wind products here, the Tin Whistle, Bansuri, Shakuhachi, Panflutes, and Ocarinas. They all have true legato and tons of ornaments to get some really articulate performances. Don't sleep on it. It'll be over in 2 weeks (until 8/22 11:59PM).
  3. Thanks Minnie. Astral Genesis was really fun and I wish I had time to make it a longer piece.
  4. Inspire is pretty good. Inspire 2 also should be good. I personally would recommend Albion, because I think it's wonderful, but you'd do pretty well with either one, and they cover bases. They're also easier to use since they're in consolidated sections instead of individual instrument types.
  5. Not really fair to compare a string library to a full ensemble sketching library Albion is a pretty amazing sample library; it stands by itself really well and can create an emotive full spread. It's not as agile with line-writing as a full string library, but again, not really a fair comparison. What you get with Albion is tone and ease of mixing. That being said, I think you're greatly overusing the word "need". You "want" gear and you "want" to get started on a music journey. You don't "need" to. "Need" is stuff like, your life circumstances will severely diminish if you don't get it. Unless you've somehow bet your life finances on a music career you haven't even started yet, this is probably not the case.
  6. Here's some answers in more plain english: 1. Clipping sounds like crackling distortion. Just keep raising the volume and eventually you'll hear it. That's the rule in computers; when it goes past 0 dB, it will clip. Because the computer can't process stuff that is louder. 2. dB is just a measure of amplitude (loudness). Hz is completely different. When you have a pure tone, it's a wave moving at some number of times per second. 1 Hz is one pulse per second, 2 Hz is 2 per second, etc. The range of human hearing is 20 Hz to 20,000 Hz (that's generous, it's different per person. My ears stop at 17,000.) http://www.szynalski.com/tone-generator/ Go to this site and you will quickly understand what Hz means in the context of what you hear. Low Hz is bass, high Hz is treble. Raise and lower the Hz on that website and you'll see as you go from the lowest number to the highest number, you're going from lowest pitch to highest pitch. 3. Normalize just means it finds the loudest point in your song and raises the entire song equally all at once so that THAT particular loud point is 0 dB. Usually normalize in programs lets you tell it what to normalize to (-3 dB, -1 dB, 0dB, etc.). 4. The overall loudness of your song is whatever is passing through the master channel. That's what you're hearing, and the master channel loudness meter tells you what it is.
  7. Ah I see. In that case, I get what you're saying. Definitely want to never touch the internal volume. Mine's always at 100%, but that's because I have separate volume knobs for my headphones and speakers. I have 0 consistency in what my (interface physical output) volume is set. The output knob to my monitors will move randomly at least 10 times a day just listening to random stuff (like other music, YT vids, etc.) But when I'm making music, and doing a final loudness check on my stuff wrt perceived loudness, I definitely pull up something professionally done and released on iTunes to reset it back to where I'm comfortable listening to mastered music. At this point, I can just visually see where that knob position should be that I hear "powerful and comfortable" for professionally done music. It's around 30% on the knob dial for speakers, and 100% for the headphones (with the Sonarworks calibration giving -7.9 dB, and having the 250 ohm DT 880's, my interface really needs to try hard) And then I just take that sort of familiar volume comfort zone and then mix my desired perceived loudness there; this way, I know exactly how my music is going to contrast with other albums people might be streaming alongside me, because I picked that volume level while listening to other stuff. And I know that other stuff is at 0 dB, so I put mine to 0 dB too. If they're both 0 dB, and they both sound just as loud, then they are just as loud, absolutely, on all devices. Timaeus hit the nail on the head. Before you mix anything you should set your listening volume while listening to a reference track, preferably something professionally done and commercially released.
  8. @timaeus222 I think you're going in a perceived loudness direction which is a little more advanced than the kind of issue BloomingLate has. The issue here is simply that OP doesn't understand the dB scale, which is the "absolute loudness" measurement he's looking for. BloomingLate, you can raise the master track of your song up to 0 dB FS, which is the digital limit for clipping. You should always mix to 0 dB because that's the standard for mastering. 0 dB is marked at the top of the loudness meter in your DAW software. The dB number has absolutely no bearing on the perceived sound energy without a consideration of dynamic range (you can still have soft music where its loudest peak is 0 dB). If you don't like a high amount of sound energy, mix to 0 dB but avoid any master compression or limiting so that nothing goes over. In other words, avoiding 0 dB doesn't mean you're avoiding making the music sound too loud, you're just annoyingly making people raise their volume knobs relative to all the other music they listen to. To explain your own example, trance music isn't loud because it's at 0 dB (the "red" part), it's loud because it's very compressed with little dynamic range, so the sound energy over time is packed and you feel it harder in your ears. For a practical solution to your problem, you can also render your mix so it never hits 0 dB (to truly avoid the need any master compression and limiting) and then just Normalize it. This will make your music at least hit the same peak that other music does, and shouldn't require the listeners to vastly pump up the volume to hear. However, I would wager that without any compression whatsoever, people will still be raising their volumes. Most music is compressed in some form nowadays, and I can't remember the last album I saw with full dynamic range (besides classical music, which is impossible to listen to in environments like the car because of said dynamic range). As for the volume levels of your devices (headphones, laptops, stereo), none of that stuff matters at all. If someone's listening device is quiet and they need to dial it to 70% to hear anything, that's their problem. If your music is mixed to the same standards as everyone else, then it will sound the same on their system as any other music they listen to, and that's what you shoot for. This is the 0 dB thing I was talking about before. How loud it sounds is a matter of handling dynamic range using stuff like compression, and that's what Timaeus is talking about with referencing a track to match the perceived loudness. That stuff is its own rabbithole and takes a lot of learning and experience to understand how to do properly. tl;dr If you mix it so that you go up to but never cross 0 dB, you will never blow out speakers/headphones and your signal won't distort. This is one of those things that should just be automatic for every piece of music you create.
  9. PRYZM

    Advice on Channeling Creativity from Anxiety

    The most important thing that prolific artists and composers will tell you is that this stuff becomes incredibly easy if you just do it all the time and consistently. Anxiety about being creative is self-fulfilling, since the issues you talk about (not having ideas, not knowing what to do) come from being unpracticed. Do you ask someone to run a 5-minute mile if they've been a couch potato for the last 3 years? Being a creative is like being an athlete. If you don't keep those muscles in shape, they'll never, ever work when you ask them to. Just make stuff, and stop worrying about if it's bad. Bad art can improve, non-existent art can not. And remember:
  10. What's the issue pertaining to Shreddage?
  11. PRYZM

    I want to build you a computer

    Does that happen in standalone Kontakt with those patches as well? If it only happens when your project is huge then it's just a case that a WD Black can't really stream a metric ton of sample data since Kontakt libraries are usually configured for DFD (direct from disk). If you have extra unused RAM, check if it improves when you manually override the preload buffer and set it to max size: Places less strain on the hard drive. If it happens in standalone, then it's probably either drive failure or Windows is messing with your disk usage (make sure real-time protection is turned off, and your computer isn't running backups or virus scans or w/e). Either way, moving to SSD is what you want to do for sample streaming, which is pretty much expected in Kontakt libraries nowadays.
  12. 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: https://www.gamesoundcon.com/single-post/2017/10/02/GameSoundCon-Game-Audio-Industry-Survey-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. http://tinysubversions.com/2005/10/effective-networking-in-the-games-industry-introduction/ 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."
  13. Thanks so much! I was trying to bring the influence and elements into a context that was more familiar and approachable for people.
  14. 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).
  15. Monitors are the word for studio speakers.