Beatdrop

:!:FruityLoops is not a sound recorder:!: You can not hook up some MIDI, sequence some notes in FL, and expect it all to export. You have to play back the MIDI sequence in FL and record it using something like Sound Forge or CoolEdit. FL Studio (soon to be released) will have a built in Wave Editor so things like this will be possible from within FL, but until then, all sounds from external sources must be recorded in another program and then loaded into FL as a sample.

Or you could just double click on each note individually. For starters, here's a duration/start time configuration for 12th-note's: Note one: Start time - 1:1:00 Duration - 0:0:32 Note two: Start time - 1:1:32 Duration - 0:0:32 Note three: Start time - 1:1:64 Duration - 0:0:32 Note four: Start time - 1:2:00 Duration - 0:0:32 SO ON AND SO FORTH. I made use of this in my most recently submitted (and not yet posted) remix.

I think I should point out that the order in which you put FX into the FX rack affects how your sound goes. Yes, ORDER is key. Let me illustrate: FL FX Rack mast. a b c d e f g h i j k l m n o p s1 s2 s3 s4 <--- FX channel listing 1>Fruity reverb 2>Fruity delay 3>Fast dist. 4> 5> 6> 7> 8> The above example would cause your sound (in FX channel 3) to first have reverb applied, then the dry sound and the reverb would be echoed with the delay, and then the dry sound, the reverb, and the echo would be distorted, making a big garbled mess. If you were to reorder this so that the distortion is on top, then the delay, then the reverb, it would sound like a crystal-clear distorted, reverbed, echoed sound in exactly the order it should be. So FX in the FX rack occur in order of top to bottom. Keep this in mind. It's very important.

Majin, I understand your problem now. I didn't realize you don't actually have a Line 6 Pod 2. Diferent MIDI devices have different CC#'s (coarse controller numbers). CC#'s are what specify where certain controls are in a MIDI channel. They're typically semi-specific to each different MIDI device you have, although sometimes you will have the same CC#'s for the same controls in devices. This is usually only with things like Pitchbend and the volume knob on something. The reason the Pod 2 MIDI preset won't work for you (for whatever you're trying to use it on) is because a.) all the controls you see are simply MIDI CC#'s patched to knobs or sliders and are actually built into the Pod 2 and b.) the CC#'s on whatever device (if you're actually using some other device) are different.

Your Line 6 Pod 2 does not use MIDI Effects. What this means is that all effects applied are applied directly to audio. Basically, you would have to output the audio from your computer into the Line 6 and then back into your computer for recording.

It's really quite simple... Allow me to explain: In FL 3.3 and up, the FX rack contains one Master effect channel and 16 seperate effects channels. Inserting FX into the master channel will apply them to all sound at all times... forever... Meanwhile, putting FX into any of the other channels will only apply FX to the corresponding tracks in the step sequencer that have themselves set to that FX channel. ________ | xx| | | | | | | |_______| The x's in the above diagram signify where the FX channel selection is in the Track Properties dialog, which is accessed by clicking on a track name in the step sequencer. Set this to the FX channel you wish for that track to send its audio to. And I highly suggest you don't double up on notes to create accents. Doing so increases the volume of the sound by 100% which is quite a bit more than an accent... EDIT: When you want to create a pad, it's all about utilizing the envelopes correctly. Make sure to use copious amounts of attack on your amplitude envelope and maybe a bit on the cutoff envelope. You should also add some release to the amplitude envelope. And after that, in order to make it sound smoother and less harsh and raw, you should use some reverb, equalization, and maybe a phaser or flanger.

*points at Pollard* HE did it! Yeah, I really didn't have any more of a hand in this than I did in the original that you can find on SQUAREDANCE. But lemme say this: This version is total hardcore 0wnage. I told Pollard this when he first reworked it, and, like, I dunno what else to say. It fuxing rocks. MP usually goes with breaks, but he definitely has that same versatility that I like to think I have. I wholly hope he makes some more industrial techno in the future.

Clipping, to simplify it, is when a signal (your sound) distorts because the output can't handle it. Really, I can't explain it very well. Someone else probably should. BUT I can tell you how to avoid it: Compression, Limiting, Normalization, and Equalization. I'm partial to hard limiting using FL's Soft Clipper, and that works quite well and conserves CPU, but even then I usually take a song into Sound Forge and normalize it to smooth out the rough edges. And you should always EQ your sounds to get them exactly how you want and to cut back on frequencies that are causing clipping.

This collaboration was entirely my idea... I was originally planning on working with Pras on something else, namely a U.N. Squadron remix, but since I couldn't pull myself to get anywhere on it, that idea went kaput. But then after playing more Super Metroid and hearing this song again, a million ideas flashed through my head and CotMM popped in there at the top of the list. So I proposed it to him, and he mentioned he had already started work on a remix of this song. Whether or not any of the material from his solo-mix got used in here, I don't know. But then I dropped the idea on Pras, and he was more than happy to collaborate, and thus a threesome was born-- er... something like that. All of the arrangement was done by CotMM, as well as everything except for the guitar (duh) 85% of the drums, and a singular synth line that I contributed. Personally, I think it rocks. *shrug*

ARhgarwjblknasrlwaraW:$@$@^te... My head... MY HEAD!!! ow.

*Sigh* A breakbeat is not a solo played by a drummer. Wrong, wrong, wrong, wrong, wrong. A breakbeat is a drum rhythm in which another drum rhythm was taken, broken apart (thus the "break"), and rearranged into a new rhythm to give it a jagged edge where it was chopped apart. Breakbeat is also a style of Electronica that uses these rhythms. Chemical Brothers, Crystal Method, Hybrid, Fatboy Slim, and many others have done this style of music. A breakbeat is rather simple to create. Take a drum rhythm, typically one you created, render it as a .wav. Put that .wav into a sound editing utility, such as CoolEdit or Sound Forge, and seperate it at any spot that you see a spike in the spectrum that would signify the hit of a drum. Take these new slices, render each one as a new .wav, and load them into your sequencing program. Rearrange them into a new drum beat, and you're good to go.

While this isn't typically my normal listening cup-of-tea, so to speak, this particular Monkey Machine remix is the l337 r0x0r. It starts off really eerie and gloomy and later when the distorted rhythmic section comes in, it just takes on a whole new emotion. Totally incredible remix. Download it now or forever wallow in shame from not having done so.

You didn't know AE uses FL? He's only been using it, like, forever AE uses CoolEdit to chop up his beats, apparently. He does it the manual way

You should be asking AE about this. He does incredible things with it...

What the hell?! I thought I already reviewed this one, but apparently, I haven't. Awesome. Great great orchestral work. My favorite of Russell's. Take his mad orchestral skillz and combine that with the awesome Guardian Legend soundtrack and WHA-BAM! You get this piece of perfection. One of the few remixes that I actually STILL HAVE ON MY HARD DRIVE.

What soundcard do you have? It's very possible that your soundcard's synthesizer is just a total piece of shit and that's all. But if that's not it, I have no idea what the problem is...

In the MIDI Options window, check to see what you have set for your Master Sync, and then make sure that under the Options tab, "Enable MIDI Master Sync" is checked.

I dunno what the hell you guys are talking about; I loved it. This is the song that really made Peeples become my favorite recurring OCReMixer (and I say recurring because if mutagene would post more often, he'd be my favorite). I've long considered Frank Klepacki's work to be really damn cool, and hearing remixes of it was just So anyway, I love the little verbed-out bell sound. It helps retain a lot of the whole sneaking-around vibe that the original had. The drums are pretty groovy, as has been already mentioned. The bass should be made note of because while it has a certain dominant presence, it doesn't overpower everything else, and that's definitely a good thing. Anyway, this remix rocks. Download it. Now.

WHAT THE F--- Why haven't I reviewed this song yet?! Well then, here it is: This was the first OverClocked Remix I ever heard. I downloaded it entirely on accident while searching on WinMX for some Chrono Trigger music. Sure enough, checking the ID3 gave way to the origin of it and the rest is history. This song is the H4RDC0R3 R0X0R. If you don't like it, there's something wrong with you. Very melodic and very rhythmic, it all just blends really well... There's just some mysterious fullness that DJP has in all of his remixes and this one's no exception. Absolutely great.

Whoa... this song is CREEPY. The drums are constantly changing and being manipulated. Very very cool. That snare has a nice hard crack sound to it and really works well with the other drums. The way it starts out is really eerie with that bass, I mean, it sounds sort of lo-fi vinyl-ish, but it works. The phase inversion and stuff later on that happens to the drums is really cool. But yes, I think the most noteable point of this remix is the drum work. Lots of stuff goes on here, so pay attention.

This remix is pretty groovy. It has a really electro-house feel to it. Reminds me a lot of Röyksopp's "Position." I love that reversed string build/hit thing at 1:47 or so. Lots of the little details in this thing really raise it up there.

Correction: You don't need to have them in the middle. The WASP's oscillators are 3 octave +/- capable. Meaning right in the center is 0, a third of the way to the left is -1 and a third of the way to the right is +1, etc. As long as they're at even octaves, they'll sync up perfectly and give you a decent sound. However, I'm pretty sure (can't check right now) that the WASP has an Oscillator Sync feature which causes the oscillators to hard sync if they're not at even octaves. The best way to understand what I mean is to test it out. The WASP only resets to default if you don't have a registered version of it. It's a plugin that you have to buy seperate from FL for 30 bucks or so; well worth it if I do say so myself. EDIT: More tips: Another technique you can use with the oscillators is called "detuning." This is done by fine tuning them both so that they're only slightly not synced up. This gives more width to the sound and is typically used with your stereotypical trance lead. The "Dual Voice" button activates a built-in chorus type effect that just fattens the sound up a bit. The PW knob (Pulse Width) only functions with the Square waves, so don't bother messing with it if you aren't using any Squares. Oscillator 3 is a sub-oscillator that generates very low frequency waves only. It's best used when you want to create a bass sound. The slider above Oscillators 2 and 3 is the balance slider that selects how much of the two oscillators you want. Right in the middle would be a perfectly even mix. Anyway, that's all for now... Just the basics.

Loved the game, loved the music, loved this remix. Really complex arrangement that really really really expands on the original and just all around sounds wonderful. I'd kill to hear more remixes from this game.

LSD is for playing back GM instruments as actual instruments in your song. It allows you to load other DLS files to have new sounds and such. Playback is done via MIDI. Blood Overdrive is distortion, just a more customizable form of it than the Fast Dist. It was designed more for use on synthesized sounds than anything else, and gives a very very very dirty sound. I'm not going to go anymore indepth than that because you can get even more info simply by opening the Blood Overdrive plugin, clicking on the little fruit in the upper-left hand corner and going down to "Help." I think the Fruity Reverb is pretty... self-explanatory. Again, if you're truly stumped with it, just do the Help thing for it the same way as for the Blood Overdrive.

Actually, I should point out that it doesn't clip. I processed and normalized the song in Sound Forge to ensure that. Anything you're hearing that you're assuming is clipping is most likely just more of that good thick distortion I laid on pretty much everything in this remix. Also, I didn't just "brush" you off... I told you that I was going for dirty. And if it's TOO dirty for you, then maybe Industrial Techno just isn't your stuff? Hmmm... Oh well, to each his/her own. EDIT: So as to not post twice in a review of one of my own songs, I'll just stick this in here: It's a remix of The Veldt. Due to the industrial sound of it, some people have been getting it confused with the Magitek theme... EXTENDED INFO: This remix was done entirely in FruityLoops 3.56 using WASP, FM7, Pro-52, Muon Tau, Pentagon I, and AAS Phantom. All the drums were taken from my XK-6 and processed on my computer with large amounts of distortion and other goodies. Originally, the AAS Phantom was going to be used for the main lead that goes through most of the song, but since I was having trouble getting it to retain its settings, I just used it for the intro and outro synth. The FM7 was then used for the lead that plays most of the melody, the WASP for the backing distorted synth during the B-section and also the neat synth slides and stuff. The Muon Tau (a near-perfect emulation of the TB-303) was used for the bass line with lots of chorusing and stuff. The Pentagon 1 made up the synth solo at 1:40 along with drum breaks created off the main rhythm using Phatmatik Pro, and the Pro-52 replaced the added melody at the end that was originally done by strings using HALion, but they were causing it to clip REALLY REALLY BAD. After all was said and done, I had a helluva lot of fun making this remix. I think I can safely say it's as close to a tribute to KMFDM as I'll ever get. GOTTA LOVE THOSE DRAMATIC PAUSES!