AngelCityOutlaw

This game is amazing and I love it, but they definitely need to fix whatever the hell is going on with the disconnects. Day one and it ran perfect, day two was steady dropouts despite a perfect connection. This issue is now the longest thread on tech support and Blizz hasn't said anything about it on the forums despite this. The only thing that seems to help, but not fix the issue completely, is to do a dns flush and clear the temp folder from appdata/local. Other than that, you're never really sure if you're going to be booted out of the match to rejoin. Yesterday, it was so bad I got a penalization warning.

Sounds like you've got some sand up your ass because you weren't a part of it, honestly. Anyway Who wrote the demo/trailer song? It's rad.

IT'S HIGH NOOOOOON!!!!

On YouTube he said they haven't decided yet but somewhere around the $100-150 USD mark.

It is my dream that one day, we will have a sky full of badass airships irl.

This is my fault for not explaining earlier, but I do prefer having individual sections, myself. I'm a big fan of that "classic Hollywood" sort of sound, I guess you could say and having individual sections may be more conducive to that? Just thinking about counterpoint and the like? Even with East West, I do like having 1st Violins, 2nd..etc. Anyway, out of all the threads I've ever created on here, this one may actually be the most informative and helpful. I definitely know that what I get is going to be some combination of the libraries suggested here - just going to keep reading about them, watching video demos and see if I can find anyone where I live who has some of them and see if they'd let me try it out.

If you are into rock and metal, you spent a considerable amount of time listening to Nick's fantastic drumming - especially on classic Megadeth albums like Rust In Peace. RIP Nick http://www.blabbermouth.net/news/former-megadeth-drummer-nick-menza-dies-at-51/

Oh, I'll be there. I will sooooo be there.

Woo000 Overwatch! Been planning on remixing this myself! Anyway, I'm going to assume you're looking for feedback? If so here are my critiques 1. The orchestral samples sound fairly fake and the intro takes much too long. Like, the violin crescendos sound choked/way too fast and the strings don't seem to sweep. They sort of "dip" in volume at the end of each chord really quickly. I'm not sure what you're using, but consider another modwheel pass there. 2. Everything is way too central. You've got toms in the center or very close to it, piano, lead guitar, etc. Pan stuff, but keep the low frequencies central. 3. The mix doesn't seem like it knows exactly what it wants to be. You start off orchestral, then go to a sort of metal vibe, then orchestral-metal then a sort of a dance beat. Couple that with the fact that there is essentially no build-up or fill before the rock starts and it all just feels very disjointed. 4. Obviously, you put your own spin on it, but the source is not very identifiable in much of the track. Like, your intervals are similar, but it's really not the Overwatch victory theme. Not to sound harsh, but if you hadn't labeled it as such, I probably wouldn't have guessed right away what it was a remix of. If you plan on submitting, I'd recommend making it closer to the original melodies. Compare to the source for reference!

Sorry for the double post, I somehow missed this post while typing my reply to Meteo. Alright, good points. So much thinking and consideration to do lol! Again, thanks everyone for the exceptional advice here.

This is actually not the first one I've done and I know it's not going to be the last. It might seem the way you're reading it based on the previous wording, but that's not exactly it. The "competition" are also musicians I respect and in many cases know personally, but to be completely blunt: As inspiring as it may sound to just stick with what's working, If you're serious about this kind of thing, you want to be able to make stuff that is to the standard or try to even aim higher. Standards change over time and the other big issues is that I'm not satisfied with it myself. Something that was great as a library back when or what might've been the standard 15 years ago, often isn't anymore and with some of the stuff I have right now, aspects of it have been rendered obsolete by advances in computing power that makes more modern libraries possible. If the guy down the hall's music is sampled rather than live like mine, even if I feel I can write a better piece than he can (because I've been writing for much longer), he's got something far more real sounding with a whole lot less effort. Not only that, but without the true legato and other things I keep referencing, it is impossible to achieve something he was able to just by playing it in and with proper utilization of a modwheel and sustain pedal with comparatively minimal tweaking afterwards. Why spend hours upon hours with something that even still will only get you over halfway there at best when something newer is more intuitive? The latter is far more inspiring. I want that. If this kind of thing is within my grasp, I would be doing my music a disservice by not upgrading. Paid gig or not.

I can count on one hand the number of virtual instrument manufacturers that I know for a fact have suppliers in Canada - many of them are download only, so exchange rates often really work against me. For example: Berlin Winds is a good suggestion, but 460 pounds is 875 Canadian (Just 600 USD) and I would need the full version of kontakt which would be another 525. That puts me over halfway to my max just to get one thing. I haven't found anyone in Canada who sells just the Kontakt VST by itself, but I can get Komplete at some music stores here for 700 - 800. Cinematic Strings 2 costs around 400 in American, but closer to 600 here. That's actually why I want the better samples. I'm currently working on a game soundtrack, biggest and best paying gig I've had thus far. However, even though the client is satisfied with the results, this game is definitely advertising for me more than before - having been at trade shows and streamed in charity tournaments. The soundtrack is requiring increasing amounts of orchestrations and when someone can play my game and say that the music itself is really good, but walk just down the hall and play that other game where the composer who got a student discount on CineSamples has a mockup where you can hear all the little transitions between notes in the melodies, was recorded at MGM's scoring stage, is really deeply sampled, etc. that stands out even to the layman. TL;DR - I'm fighting against outdated tech. With what I currently have, 110% effort in sequencing is only going to give me 70% results of my competition at best. It's interesting that you say that, because I saw on CineSamples site Mike Patti was saying that with their most recent update to Cinewinds (I think), they went through all of the samples and de-noised them as well as recorded new ones and added a legato volume knob. Have you used it post any recent (in the last couple years sorta thing) updates? Anyway, I'm currently thinking about this: CineBrass CineWinds Cinematic Strings 2 I've already got a lot of different percussion from various libraries so I'm not in dire need of anything there. These three would set me back 1600 - 1800 bucks I think. I'd check the exact prices, but CineSamples' site is down at the moment. =/

Well, ideally, under 2,500 if possible. Which makes the core bundle of Cinesamples make sense since that would come to 2,358.76

That was amazing!

First, I just want to say thanks for the awesome posts. This has thus far been extremely helpful. Your two cents are greatly appreciated, DJP. Can I ask what you don't like about CineWind and Strings?

To be honest, if you're a total n00b at transcribing, you're unlikely to successfully transcribe even a "simple" song in a short amount of time as your sense of relative pitch is yet weak. If you do successfully do it, it will be because of trial and error and memorization rather than truly developing your sense of pitch. If any suggestion we could give you were "easy" to transcribe, you would already know it. So I would say focus on scales, harmonies, intervals, listening to lots of music and trying here and there to figure out a melody from a song everyone knows and you're very used to hearing - like Jingle Bells. Eventually, as you become more consciously aware of the intervals as you listen to music, you'll be able to play back most of what you hear without too much effort or uncertainty as long you have a reference pitch and a decent recording. Even then, "easy" is very subjective. For example, I consider this song easy to figure out by ear, but another guitar player I know couldn't figure it out because the key changes throw him off. Unlike me though, he was able to figure out this guitar solo on pretty much the first go.

I grow tired of EWQLSO and I desire something more "modern" and most of all, that has true legato. With Symphonic Orchestra, you can do great things, but you have to stitch together a billion different, clunky patches and perform all kinds of other voodoo to do it. It's "legato" is a script that chops off the attack of the next note, but never fear, they have Qlegato patches...which basically are notes with the attack cut off. There are keyswitches, but you can't really use the modwheel with those patches, so who cares. The Play GUI sucks the chrome off a car bumper and finally, I'd rather listen to a Donald Trump sex-tape than the portamento script. Just a minute of playing around with the legato patches taken from Symphobia and included in Orchestral Essentials yields far more satisfying and realistic results with little to no trickery. That and the samples just sound great to me. It's clear that I should get something more recent with a better interface and true legato, but what? The CineSamples bundle of the cores seems like a good idea since it works with the Kontakt Player and appears to have what I'm looking for without breaking the bank. Are the "pro" variants really necessary, though? They just seem to add some extra bells and whistles. The 8Dio stuff sounds great, but it doesn't seem significantly better than what their competitors offer for less money. I mean c'mon Troels, I'm not Scrooge McDuck here.

Sort of yes, sort of no. Yeah, I'm not sure wtf keeps happening there to be honest. I had it sounding fine before - I must have screwed something up with the samples before rendering it and didn't notice. Also, thanks for listening.

Oh, the title isn't because it's a "My woman done me wrong and I sold my soul to the devil for blues fame" type of song - it's because the clavinet sound is a freeware plugin, but it's only 32 bit and it caused a number of glitches that made me sad. Thanks! It wasn't for any specific reason other than to play around with the clavinet.

I know these entire forums are basically dead af, but I will share this regardless.

Tune inspired by retro sci-fi! Don't be afraid to set your phasers to "feedback" and fire away.

New Primal Fear album iz gud

I'm actually going to have to disagree a bit with the notion some have that a better sample library won't do you any good unless your orchestration skills are better first. It's hard to practice that unless you actually have a sample library that has a lot of articulations and is capable of making something realistic. For example, you will never be able to create a truly realistic sounding, expressive violin melody without legato, portamento, marcato, etc. Players generally don't play with just one articulation (a simple sustain in most crap libraries) throughout a phrase and playing with the envelope usually doesn't produce as satisfying results. If you know this, but your library only has something like sustains and staccatos, you will likely avoid writing melodies that use shorter notes because you'll notice the staccatos are too short and sound unnatural in your phrase - you need a detache, marcato or some other sort of short sample with a longer decay/release instead. I've never understood the idea that lots of people have that you should start with something low-end and garbage and then move your way up when a smarter financial decision is to buy something really good and improve yourself so that when you are good enough, you won't need to spend any more money.

Up here in Alberta, we have a number of devs working on some really creative stuff for VR, but anything I've seen or experienced of VR at any tradeshow has been for PC. It seems to be pretty much agreed upon that VR is going to have more uses in the medical, military, police, architecture,etc. fields than entertainment. So VR likely won't sway you to buy a PS4 anytime soon.