AngelCityOutlaw

I admit that I lost interest in the game after a couple weeks. I personally thought the gameplay was solid, though. It's not that I didn't like the game, it's just that after getting my ass kicked enough times it showed me that I don't have the patience and dedication for these competitive kinds of games anymore. I feel like if I'm not going to put in the effort to "git gud" with it, then I'm wasting my time and money. SFV definitely caters to the hardcore and I'm just not hardcore anymore.

You asked if anyone here uses a device like this - I don't think you're going to get many "yes" responses, as you're the only person around here I'm aware of who uses MIDI guitars. Keyboards are the standard and software is optimized for that standard, so that would make a MIDI guitar a second-best option. The YRG quote on their site is literally "like a keyboard for guitarists." It feels unnatural to me because of the lack of string resistance on the fretting hand. It does not feel like a real guitar - playing a MIDI keyboard feels like playing a real keyboard. Lastly, MIDI guitars and pickups are expensive. A decent, small keyboard controller costs way less than a guitar controller. If a MIDI guitar controller works for you, that is great. However, I do not know of any professional or hobbyist composer who uses them and this is probably why

You may want to update your post and title a bit since I was confused as to what "mid guitar input devices" meant at first. Anyway, regarding your question at the bottom - no. I actually am a guitarist foremost, but in my opinion, keyboards are the superior controllers for MIDI. It feels a lot more natural to strike keys to trigger sounds than to play what is usually a phony guitar, and it's easier to enter modwheel data in real-time and toggle keyswitches on the fly. With step-record input, you don't even have to be a great pianist to get the idea down and most sample libraries are designed around keyboard input.

Part of me wants to say, "Congrats, sir" and the other part wants to say "Fuck yeah, that's rad, man!" but they mean the same thing, basically.

I recently have been playing Vampire: Bloodlines and it's a good example. When it was released, it was incomplete - a lot of planned content was missing and there were many technical problems. To this very day, after 12 years, fans have been patching and modding the game. They have restored lost content, fixed bugs, etc.

I know it's based on the first game, but I want night elves damn it!

Yeah, no one's fighting but okay.

I'm not trying to start a fight It's just that, everytime the subject of game movies comes up, someone will insist that game movies would be better if the directors/writers had more respect for the source material. I don't completely agree and I feel that over-simplifies it. Kirk Kjeldsen, a cinema professor, explained it best I feel in an article last year. He argued that games tend to not make very good films because most films (like comics, etc.) are 3 part stories - a clear beginning, middle and end. What is the "middle" of Super Mario Bros? Exactly where does Street Fighter begin? What about games like Fallout, Vampire: The Masquerade or Deus Ex? These games can be experienced in a non-linear fashion and have tons of characters. How do you adapt that to a linear, 3-act, 1 -2 hour movie while still getting the most important plot details (which span dozens of hours in-game) and characters right and true to the fans? Kjeldsen felt, and I agree, that Prince of Persia was successful in taking the best elements of the game and adapting it to film. Warcraft, Assassin's Creed, Tomb Raider (Go Daisy Ridley!) and Uncharted could be successful because their characters can easily be fit into different scenarios as the games don't have such strict continuity and their settings allow for a lot of interpretation. They fit the standard adventure movie style pretty well. Castlevania was planned to be a movie. How? Almost every game is simply two parts - get to dracula and kill dracula. The hours of action in between does nothing to drive the story forward. It would be no easy task.

Most games do not make good movies because most games have below direct-to-DVD level narrative. The ones that are better and tell their stories well through gameplay do not need to be adapted into a movie as that would just be redundant and probably inferior anyway. Comicbook movies and TV shows have consistently been among the most critically well received blockbusters of the 21st century.

They already made an Uncharted movie back in '84

Probably charges like $500 per word, so I'm not surprised.

As everyone's least favorite game "journalism" site reports, David Hayter is feeling a bit salty over not being Snake in MGSV. He explains how he was basically ditched and that Kojima had tried to replace him with Kurt Russell back in the early 2000s. On the one hand, his frustration is understandable, but on the other - he's an actor/writer and should know that this kind of thing happens all the time. If we're all being honest Kurt Russell and Kiefer Sutherland are much more experienced actors, especially when it comes to action characters. I'm not surprised Kojima would want Russell, who inspired Solid Snake, or another Hollywood star to be the voice of the character. I don't get the vibe that it was anything personal, but Hayter seems to have taken it quite personally and lashed out and that may have been a bad move.

My recommendation for EQ was if you were using a sine wave in the low bass. In that case, you would high-pass the extreme lows from the bass guitar. The second method, which is more natural sounding and doesn't involve the sine wave, I would not EQ the bass or kick, but I would sidechain the kick to the bass. What this means is that compression is applied to the bass guitar whenever the kick drum hits - thereby reducing the volume of the bass guitar momentarily to allow the kick to be heard clearly.

You high-pass the sub-bass from the bass guitar and double the bassline with a sine-wave in the sub range. Done correctly, the result is a really solid low-end. I'm not sure what your listening equipment is like, but you'd of course need something that can go low enough. Sounds like you need to put a limiter on your master channel.

Ditto the Tim criticisms, but I feel I can add to it. - Drums. You could parallel compress it, but I'd rather just layer the kick and snare with punchy one-shots so that you get the sharp transient of the one-shot, but the body and tail of the kit. Also, the snare rolls sound really machine-gun like. - Not sure how you're recording bass or if it's a VST or what, because I too can't really hear it. If you're not doing so already, DI it rather than mic it. You might also want to give it a go with replacing the low bass frequencies of the bass guitar with a low sine wave instead - just be sure to keep the sine out of the way of the kick drum. I'd actually clip-off the start of the MIDI note rather than sidechain if you opt to go that route. If you go more oldschool with it, bring up the bass's volume, maybe add some tube compression and lightly sidechain the bass with the kick. Not that I have a problem with Tim's link, but that's a metal mix...I'd rather use something like these for reference. As it has similar guitar and bass style

Your post did indeed post - people responded to it. Honestly, you're asking questions of which there is no "like this" answer. This stuff takes years of practice to get where you want and a lifetime to master. 1) Study music theory, orchestration, ear-training, composition and arrangement 2) Study production. I.e., mixing, recording, MIDI sequencing, develop an ear for timbre and learn to use every type of music technology you can get your hands on. 3) Use what you learned in the previous categories to critically analyze the music you want to make and utilize the concepts in your own music. You can "study" all of these by buying books, enrolling in lessons, watching videos, analyzing written scores or MIDI, playing with other musicians and collaborating and just getting out there and making stuff. This is what everyone on this forum giving you advice has been doing for years - often since we were children. There is no easy way. All of the time you're spending asking us questions is better spent learning from sources dedicated to music education and making music on your own. To paraphrase Blue Stahli "It'll either sound good or light on fire" and you will light some things on fire.

I think it's a good medley and your playing is solid. I'd say that the mix could use work, though. Your rhythm guitars sound louder than everything else. The drums are a bit quiet and while I can hear the leads fine, I feel they should have more width to them and a slight volume increase as well. Maybe pan those 3rd harmonies and add a good stereo delay to the single-tracked leads. That's all I have to complain about.

I now have high hopes

Oh, okay. I've gotten much better (I think) with SFV's Chun Li. I was disappointed that the Hazanshu kick is gone because in IV, that was her most reliable anti-fireball move. The V-Skill and down + medium punch are suitable replacements, though. I've also mastered some of her combos. I just wish she'd get a better anti-air move and stronger wake-up game for once =/

I added you to my favorite players or whatever. You invited me once I think, but I had to bail.

Sounds awesome as usual!

Whoa whoa whoa wait I just read something about SFV allows you to use "legacy" controllers? Like, I could use my PS3 fightstick with this thing? Did I miss this somewhere? Was I having a stroke and this actually isn't the case? I must try this

Good fightin', @Sir_NutS I had to bail after the Laura fight. The PS4 controller is alright but damn it's murder on the hands after a while. =/

Anytime. Hopefully next time I'll get rekt without the connection issues.

Oh, I was wondering who that was lol. The connection lagged on us. =(