djpretzel

I've got Bitwig, but haven't really put it through its paces. It definitely holds its own, and the modularity of the environment is awesome. A couple other bonuses: It loads VERY quickly, It scans & detects new VSTs in near real-time, and... It has best-in-the-industry sandboxing of VST plugins, where a plugin can crash, disappear, then reload itself all while your song is still playing, without crashing the DAW. If I'm just wanting to load a VST quickly to mess around, Bitwig is my go-to now, because of the above. Still wanna wrap my head around it enough to actually make a complete song, but I'm thinking B3 will be a good incentive.

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I always liked the first verse here, in particular; fits the melody like a glove, angsty-but-still-interesting... good stuff.

Because this situation might recur, I'll outline the specifics: PRS for Music (https://www.prsformusic.com/) issued a DMCA takedown for a ReMix by @Beatdrop Dreamhost removed the mix and notified us... ...however, our automated process to synchronize mirrors put the mix right back where it was, and Dreamhost subsequently shut the whole mirror down I am in the process of issuing a counter-claim and checking with Dain to see if there's any reason this company would have issued such a claim; even if there is, our content policy grants us license to publish/distribute and supersedes any subsequent agreements re: exclusivity. In the meantime, the mirror will remain down

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So this is a great data modeling type question, and the answer is twofold: It makes titling easier/clearer, as the primary game name becomes part of the mix title AND the filename, aiding discoverability in a number of contexts Most mixes are single game, often single source, so more often than not it isn't an issue; we could have mix titles and filenames that begin with "Multiple" or "Various" but that's kind of hideous, and the use case is relatively anomalous as well...

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Yes but that also has some advantages if you lean on Windows' built-in ID3 tag capability, or a similar functionality/utility in other operating systems - we've tagged stuff with game, composer, artist, system, publisher, year, etc., and all of those become sortable in one view... it's just that w/ 3K+ files, unless you've got a beefier machine, it takes a bit to process. A similar request has been made to do "series" torrents, i.e. "GIMME ALL DA ZELDA" - one permutation would be JUST separating out the more mixed games, or more mixed series, as subfolders, with a threshold of 20+ mixes qualifying a game/series for "subfolder status". We don't want to maintain too many torrents, or it defeats the point, but we might put an alternate organization method up for vote at some point this year.

While each mix is required to have a primary game assigned to it, many are evenly split among sources from different games, where the "main" game is only a smidge more dominant. We don't have plans for what you're describing, to answer the question, but we HAVE considered subfolders for the main collection torrents to break things down either by alpha, or by year. We can add this as an option to evaluate, but it would be a little trickier. Another option would be programmatically generating playlists for each game, and/or each artist, and storing those in a separate subfolder in the torrents.

Haven't done one of these in so long....

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FYI, included this on the mailout for Arcadia, links & all, and am looking forward to checking it out. In a perfect world, we wouldn't have overlapped the release of Arcadia Legends, but scheduling things has been rough & we wanted to make sure it dropped within the 15th anniversary window of the GameCube port, so @Darkflamewolf didn't yell at us Congrats to @The Coop & @Dyne & all contributors!

Yeah I did a double take when I saw the thread title; mostly because IK sat on SampleTank 2.X FOREVER. Like, longer than Microsoft sat on Internet Explorer 6.X. There was ST 2, 2.1, 2.3 (IIRC), then 2.5.... then 3 *finally* came out and, well, it really wasn't all that different, in terms of the sound. To jump to 4.X so soon, and without a MAJOR new distinguishing feature, I don't know... not getting warm fuzzies in terms of improvements over 3.X, at least.

@Meteo Xavier I've given you a warning and hidden your post; I get that there is animosity but when you come at things sideways like this and bring tons of baggage into an otherwise on-topic conversation, I can't do much. This needs to be hashed out in private, between the two of you, or not at all and you can both use the block/ignore function. Those are the only reasonable options I'm aware of. ...and on-topic, I actually went for SAM Essentials 2 instead of 1, because I liked the place it fit with everything else I had, and because red is better than green. It DOES load faster & chew up less resources than most Spitfire stuff, and while the mic options & general customization is limited, it can sound very good.

Just chiming in with an update: Our current plan is that Chronopolis will be the first OC ReMix album released in 2019 (yay!) This is partly because we're trying to get Arcadia Legends out this month (yay, but also difficult!)

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That's completely cool - no need to play devil's advocate, because I'm not prescribing my perspective for everyone else, just saying how I see things personally. Ultimately, since I'm less motivated my marketing/commercialization, I'm doing things for myself. To me, even if it's an arrangement, that makes it more personal than if I was trying to make something marketable. I think there's a balance to be struck on all these concerns, and it can even vary from piece to piece. Having a one-size-fits-all creative ideology just makes you inflexible. And yes, to me all art is a collaborative process, because even something shared with no one else and made exclusively for yourself is the product of a conversation your mind has had with your culture, your environment, etc. The collaborator need not be human, or even alive, but is always there to some extent. To me that's not just a "nice idea," it's a profound truth, and no amount of copyright hoo-hah or commercial consideration can change it, because it's beyond that, and it's what makes art great. Again, my perspective.

These reasons may seem true for you personally, but I disagree strongly with both as generalizations, and they certainly aren't true for me. They're also both kinda-sorta saying the same thing, re: ownership and that being the primary sticking point, creatively speaking. My more-than-two-cents: I think of my mixes as my own AND as collaborations with the original composer's ideas. I don't think it has to be one or the other. I actually tend to think of ALL artistic creation as a collaboration of sorts, even the most personal works, so it all lays on a spectrum... not a Boolean. So this is a false dichotomy, to me at least. I've heard hundreds of arrangements that brought original ideas to the table, relative to the source in question; a musical work's status as an arrangement carries SOME obligation to reuse ideas, motifs, etc., but within that framework artists can be quite creative, as we've seen over two decades, and outside of that framework, making something original, artists can still be quite derivative. So again, the premise seems weird to me, too much hinged on some notion of personal ownership being the end-all be-all & offering a stamp of great meaning & significance. My answer is that I still do it, primarily because there are still plenty of melodies out there that I want to hear a certain way, that I can bring something to, and make something of worth that I enjoy and that others might enjoy as well.

Am I the only one who thinks of this question primarily in terms of # of songs and not duration? I'm happier with a 12-song, 40-minute album where each song is unique than I am with an 8-song, 60-minute album, generally speaking... more about the number of ideas than their length

Everyone has a different take; for me, I think you just HAVE to come to the creative process with a goal of making something that makes YOU happy. There can be flaws, there can be things you'd do differently next time, you can digest & consider constructive criticism, but if there's an idea SOMEWHERE in there that, regardless of anything else, you think deserves to exist in the world, which you're proud of, you can draw strength from that. Applied to something like poetry: If I write a poem, and there's a single line, or even a phrase within a line, that I love, that I am proud of, that I want to exist within a context that facilitates it... I'm good. With music, arrangement in particular, if there's a single melodic or harmonic idea that's not obvious, that works, that feels like something personal that only I might have done "that way"... I'm good. Obviously, it's better if there are multiple ideas, and it's better if the context in which they exist is polished, strong, etc. overall, but even if it's the most professional-sounding piece of music in the world, if there ISN'T an idea/moment like that in there, I won't love it. So, to paraphrase: "Draw creative strength from your moments of light, no matter how dark their surroundings may sometimes seem"? Something like that!

Killer! I could see some minor mastering tweaks/permutations but they'd really just be variations - sounding fantastic as-is, please do submit when you're happy with it (I certainly would be)!