timaeus222

YMMV, but honestly, I ended up not using many of the given plugins (other than Fruity Delay 2, Blood Overdrive, Waveshaper, Parametric EQ 2, PanOMatic, and other basic ones) and instead integrated external resources into the experience after about a year. Various Kontakt libraries, Zebra2, Goldbaby drums, etc. I tend to value ease-of-use more than the capabilities to produce certain types of sounds when searching for plugins.

My instinct says no. See how it says things like "look, this DAW lets you pan! It also lets you adjust volumes! And drag stuff around!" Any DAW can do that. It's pointing out details that are basic necessities in any good DAW. (I'm being a little sarcastic but that's what I'm seeing) So any alternatives? Many. FL Studio Sonar (higher versions) Reaper Logic Reason etc. I don't know what OS you have, but I would lean towards Reason for the plugins that come with it, or FL Studio for the workflow (but not-so-good plugins that come with it).

I took a listen to this earlier, and I like the general mood of it. Objectively it seems like ambience + vocoded/buzzy groove + dubstep drums. I wouldn't go so far as to call it "Chillstep", but I think the drums don't seem to fit the ambient nature of this track because they're pretty strong yet sorta dry, and the vocoded groove feels repetitive because it's often there without changing much. I don't think the tempo is too slow or the track too long, but the repetition might be why someone thought that. The dynamics don't seem to go anywhere because it feels like a groove plus some melodic experiments and occasional dropping of the drums, making it seem longer. Instead of sticking to one single [vocoded] groove and writing a melody that acts as nearly the only dynamic element (besides the genre of the drum rhythm), try considering the changes you can make in the overall mood in distinct sections of the remix. You can make it heavier (climactic), lighter (breakdown), or maintain the current groove (main). Try scanning through your track 15 seconds at a time. You can't tell where you are (intro, main, breakdown, climax, or outtro) if you don't look because there's the same set of drum samples pretty much everywhere past 0:18. There's my take on it.

Option A seems like pay X + $100 to get 500 GB, the XBox, and something CoD-related. Option B seems like pay X to get the console and pay Y to get a 1 TB HDD. http://accessories.us.dell.com/sna/productdetail.aspx?c=us&l=en&s=dhs&cs=19&sku=A7499999&ST=pla&dgc=ST&cid=262077&lid=4742363&acd=1230980731501410 ^ That 1 TB costs less than $100 MSRP, like you anticipated. So it seems better to just buy that external HDD. If you think you can take good care of it and not toss it around somehow, then yeah, go for it. As long as you handle it gently, it's not so unreliable to have an external vs. internal HDD. Besides, then you'll get moar [sic] space. Not to mention: http://www.bhphotovideo.com/bnh/controller/home?O=&sku=874883&gclid=CPyGyqvqzcECFRFgfgod0AIAYA&Q=&is=REG&A=details 3 TB... $115. That's a really good deal. Much more satisfying long-term.

I did a Copper-Pyrazine Metal-Ligand polymer lab a few weeks ago, so I guess I had that on my mind. I'm a Chemistry Major.

Or... http://www.clickhole.com/article/summary-gamergate-movement-we-will-immediately-cha-1241 Seems just insulting to tell someone how to properly do something wrong. http://wiki.gamergate.me/index.php/GamerGate Minor thing, but you missed my point. I was questioning why you would say "no, this is not how you perform this fallacy. This is how you do it" (which is not that much of an extrapolation), not how you wanted to try correcting DusK about his definition of GamerGate, because the intent, again, feels sardonic. My post had nothing to do with whether or not I understood what GG was. In a few lines, I actually said "try looking at this definition to see where DusK could have gotten his, instead of claiming DusK didn't know what he was talking about and sardonically (from my perspective) telling him he improperly performed the fallacy of hasty generalizations, because if it was easy enough to look up this definition, why couldn't he have done it earlier, right?" Sure, I might have been oversimplifying my point, so there you go, a clarification. But I'm not going to dwell on that. So [/OT]

The different BPM doesn't make it unrecognizable by itself. It's the notes you chose and the order in which you arranged them that did it. The 'style' you reinterpreted in also has nothing to do with its connection to the source. Still the notes you chose and the order in which you arranged them. The interpretation also doesn't have to be butt-simple despite it being of a Game Boy tune, as long as it reminds someone of the source tune. (Since 1:58 sounds like 0:22, the recognizability doesn't change between them) Basically, it seems like you arranged the notes in a way that feels circular in its flow. If we presuppose that you picked the first melody to use at 0:22 and 1:58, then it sounds like you took its first half, took a few notes out (let's say the first few), added a few original notes around them (i.e. left and right sides), and repeated them like a polymeric chain rather than just taking the entire melody and changing the singular notes in the melody that make it most memorable into little fills here and there. tl;dr: you overmodified the connection to the source tune. I'm not suggesting "keep it simple", but try referencing the source tune as you keep modifying your interpretation of it and check to see if it still sounds similar enough that you can tell you're listening to the original in some form. ---- Let's assume the first note is a C and we're in a C Major scale for Vermilion City. Then the first half of the first melody is: C _ F E D _ C-D E _ ( where _ = some sort of rest and hyphens refer to connected eighth notes. The second half of the first melody is: C _ F E D _ C-D C _ ( )So the 'call' in the 'call-and-response' is C _ F E D _ C-D E _ , and the 'response' is C _ F E D _ C-D C _ . The only difference is that the D resolves to a C, the root in the key, whereas if it tried to resolve to an E, people naturally want to hear another half to the melody to finish it; i.e. it feels incomplete. One way you can simplify the melody is if you decided to take out the [C-D] in the call or response. The only thing that's different is that there's no more D as a neighboring tone, and there's no C that connects to the neighboring tone, so you go from a three-note phrase to one long single note. Since the [C-D E] and [C-D C] are what change in the melody between call and response, [F E D] is memorable. So, if you decided to take out the [F E] and make it just a long D, it sounds like a different melody with the differences between the call and response portion of it retained. It's sounding less like the original now. It gets into more of a gray area already. If you take out both [F E] and [C-D], all you have left is: Original C _ F E D _ C-D E _ C _ F E D _ C-D C _ Modified C _ D___ _ C___ _ C _ D___ _ C___ _ That's oversimplified. You can see that it's just three notes, which could correspond to any game in the world. Now if you modified it in this way: Original C _ F E D _ C-D E _ C _ F E D _ C-D C _ Modified C _ G F E _ C-D E D C _ G F E _ C-D C D It starts to sound more like the first half (the memorable part vs. the portion of difference between the call/response) of Final Fantasy 6 Setzer's Theme at 0:14 - 0:18. i.e. you would have changed the melody and made it recognizable as a different melody.

I can vouch for her being an excellent vocalist. I've never collabed with her before, but for what it's worth, I recognize the talent!

Yeah, what is with 0:22 - 0:53? I don't hear Vermilion City in there, I hear a vague interpretation of the credits theme, I suppose---not that close, though IMO. I'd consider that both original and unfocused. Instead of a call-and-response type of melody, you have a call-and-call type of melody. You started half an idea, then repeated it rather than finishing it, so it doesn't resolve. I don't really hear Vermilion City anywhere, actually, until 1:36 - 1:59, in the background, barely. Yeah, this sounds pretty liberal. The kick is a little strong in the fundamental. Nice otherwise. Seems like your best soundscape so far, despite this being pretty original.

Exactly. They became 'blameworthy' and viewed viciously by the impetuous, insensitive gamers. (Hence the 'insofar as...')

How in the Apparently my studio isn't so small anymore And a cool view of my minimalistic keyboard Computer & DAW Windows 7 Pro 64-bit (2.20GHz, 6GB RAM) 1TB HDD Image-Line FL Studio 11 Hardware KORG Microkey 37-key MIDI Keyboard Pyle PTA2 Mini 2x40W Stereo Power Amplifier Software/Samples Various drum samples and free soundfonts u-he Zebra + Filterscape + Uhbik 4Front TruePianos Spectrasonics Trilian New Sonic Arts Granite Native Instruments Kontakt + Guitar Rig + Massive + FM8 EastWest Quantum Leap Ra + Symphonic Orchestra Gold Audiobro LA Scoring Strings Impact Soundworks Shreddage II Complete, Resonance: Emotional Mallets, Cinematic Synthetic Drums, Juggernaut, Curio: Cinematic Toy Piano, Groove Bias Drums, Celestia: Heavenly Sound Design Heavyocity Damage Gospel Musicians Neo-Soul Keys Orange Tree Samples Evolution Electric Guitar & Acoustic Guitar Crypto Cipher Tarangs & Voices Of Ragas Vol 2 I also have two pairs of headphones, but only one is pictured (Grados SR-60 on the left)

You can. It's just feedback, insofar as you don't rage about it.

Or... http://www.clickhole.com/article/summary-gamergate-movement-we-will-immediately-cha-1241 Seems just insulting to tell someone how to properly do something wrong.

Keep it up! Still excellent work as usual. Your ear for harmonies and flow are impressive.

MOAR OVERDRIVE!

Sounds sardonic to me. uhwhat, no philosophical distinction between these two? Kant does not approve

...Belltree?

Hehe, this was from over a year ago. It was kind of an experiment to see where the OCR bar was. Turns out the difference between the rejection and the YES was mostly the hard knee compression being fixed. =P (I definitely agree with Dave and Larry with the major nitpicks)

A construct for modernization.

Major props on all those custom video thumbnails!

Well... Okay, so I looked up the song that they claimed was theirs. They ripped straight from ' '. Here's what happened---they ripped the remix, renamed it to Steel Shadows-Farewall (Original Mix), did whatever with it to license it (maybe), and made the copyright claim. Of course it matches, because the audio is exactly dead-on. Scam. Sounds like a scam.Here's what I emailed the company (Timo.Reiche@kontornewmedia.com). Even if they don't reply, it's not something I need to worry about, though I am pretty annoyed that they're trying to uphold a false claim (out of like 10+ total), having gotten away with it for over a year now.

This is weird. I looked at two of my YouTube videos yesterday, and, not that I care too much that it's the case anymore, but some company called "Kontor New Media Music" claimed that I used their music in those two videos. I don't even know who they are, but they claimed that Sixto's remix called 'Twin Blood' from Double Dragon II sounded like one of their songs, "Steel Shadows-Farewall (Original Mix)". Um, what? I disputed both claims, stating specifically that I gave credit in the proper way to Sixto and OCR (i.e. I gave enough info to locate the remix by copy+paste in google or youtube). Anyways, they just denied the claim and maintained that what they designated as infringement was 'right', even though I've never heard of their music. "Original Mix"? I suspect dubstep or hip hop So I checked out who other people thought they were. https://productforums.google.com/forum/m/#!topic/youtube/GQTDAGj0zXA Anyone got any insight into them and how... genuine they may or may not be?

Well... actually, we at OCR would recommend licensing it first... The people who 'get away with it' haven't gotten caught, they licensed somehow, or they got permission and they're paying royalties.

I think the rubato in the notes helped with the realism already, but the sample seems to not have a lot of velocity layers. If you can get one with more, then after some adjustments to how drastic the velocity variation is (i.e. if the range is 50~80, then try 40~80), it can intersperse some softer-toned notes in between some harder-toned ones. Right now there's a lot of hard-toned notes, which leans towards 'plunkiness' (hitting notes hard with one finger).