Jorito

Handed in my track yesterday. Glad the bugger is done, it was killing my DAW

Was planning to work on an update this weekend, let's see how far I get

It's not retrowave if it doesn't have the cheese! And if you need vocoders for it, you know where to find me

Let's count this as your check-in then. Looking forward to your WIP at or before the next one (July 17th)!

It’s not claimed yet, but I also didn’t know you made a WIP for it! Let me hit you up and see if we can make this happen

Also please welcome @Sir_NutS, who is giving Perel the glitch hop treatment that it was begging for. Looking forward to it!

Funnily enough, Mac (Furilas) is also a great bass player, but I was so focused on the harmonica part that I forgot to ask him if he’d be interested in performing on bass too. Awell, the sampled bass worked pretty well too, by the sound of it

I’m still headbanging to my WIP I sent ya

I grew up with the MSX home computer. I think one of the first games I bought with my own money (allowance money, likely) was probably some Eurosoft port from another platform, something like Maze Master or something similarly affordable. But hey, I was like 14 or so and money was scarce If you're talking brand new games I bought with my own earned money, it was probably Metal Gear: Solid Snake for the MSX2 that I bought first. It was like 100 Dutch guilders (about 50 euro; we didn't have Euros back then!) and I bought it from this company that would send these newspaper-like folders every 2-3 months with software for many different platforms (mostly PCs and home computers) that they imported from Japan. Wasn't sure what to expect when the advert said 'Korean version', but it turned out to be a perfectly playable Korean rip on a non-official (read: not Konami branded) cartridge with a Quarth (another Konami game) label underneath. It also came in a box half the size of the official one with a color manual all in Korean - completely different from the official Japanese one. Still, it had all the right chips inside, including the SCC chip, and it played perfectly. These days, that Korean version is quite the rare item I think. Sadly the cartridge has died after I messed with it to put a switch in it so I could use the SCC with *ahem* less official Konami games, but the box and manual are still something I proudly own to this day, well over 25 years later.

... almost edible! So yummie!

Welcome aboard to @HeavyViper, who just claimed Call at a Port! Can't wait to hear what he'll do with it

Being on the same album, I am biased of course, but this hits hard

Oh wow... thank you sir, I am humbled!

Nope, you're in the Club, I can see you. You can access it from the menu at the top (where Browse & Activity are). Clubs are a new feature of the forums that recently got activated, and we're the first ones to use it. It's like the private forums that we used to have for Album Projects, but it's more convenient and better

Isn't the whole point of this album to pick (main) character themes rather than area themes? Or am I misunderstanding?

I'm probably game for this but might take a while to get a claim in - gotta clear the backlog a bit first and find myself a nice protagonist.

Chipping in, what DFW is saying is true. It's a lot of work managing an album, but I've personally found it very rewarding and satisfactory (hence doing my 3rd album gig, as the Terranigma co-director this time). There's something about working with artists, see and help their vision come to life bit by bit and unleashing the combined tracks unto the world that has a certain something to it. It can feel like cat herding at times, but for me it has been worth it. Having a manageable album vision and scope and clear deadlines (I prefer albums projects that can be finished within 1 year) definitely helps. Either way, it is typically a process that takes months at least (sometimes years, with large gaps of inactivity if you're unlucky), depending on the vision, scope, directing and that does involve a commitment of time and energy from the director(s). I've seen projects stall because the director(s) started enthusiastically but couldn't keep the time and energy committed to it to see things through to the end. Maybe directing your own album is not something you want to do, but if it is something you're considering, I hope it helps to give you a sense of the things you might run into rather than going in blind.

I can definitely help out with the last bit, just hit me up in a PM. I also know some flute players and can probably help connect you once the arrangement is further along.

I'm not an instrumentalist or performer, but I do have some connections... what did you have in mind? Maybe I can help find collaborators!

The latter; we’re just trying to help make the tracks as good as they can be, to make the release cycle smoother and to prevent delays in post production. Look at it a bit like how the workshop moderators are working here; they will evaluate the tracks that are labeled ‘finished’ and will pass back the feedback to you with a ‘yeah, this would probably pass album evaluation in the final production stages’ or a ‘hmm, you probably should have another look at X before submitting’. Also pointing out that any OCR-A (official OCR) album has to pass through an album evaluation by OCR staff. Not all tracks need to pass to be on the album, but there is a threshold that has to be met before OCR can accept and post the album. This is regardless of this mock panel we’re introducing, that’s mostly here to give you feedback earlier and to maximize your track getting a ‘yay’ during album eval. Hope I explained it well, but don’t hesitate to ask for clarifications if I didn’t.

Wow, that was a long and thoughtful read, Rama. Interesting, though, and cool that you highlight the community aspect and the people in it, rather than the creative output. Sometimes we tend to forget it's not always just about the output

You probably should! We'd love to have you on board

Maybe it loads quickly on Windows, but on Mac it’s a bit of a tired old dog. It loads slowly, and the GUI also slows down on bigger tracks. These are all known issues, and the devs are working on improvements here, but wrt. performance Logic beats it without even trying. Of course Logic has been incredibly optimized for MacOS, where Bitwig’s focus has been on other aspects, and it only affects you if you run on Mac, but I thought I’d point it out. There is a lot of other stuff to like about it though!

Good to see some activity here again! I did dust off my arrangement of Crysta and was able to recruit some help for it... I think it's gonna be pretty cool Two-weekly WIP updates might be a bit much for a hobby project, IMO. Life has a tendency to get in the way and leave you unable to work on music, in my experience. Frequent check-ins/status updates (maybe just monthly in stead of bi-weekly) rather than WIP updates might be an alternative to consider for such cases. For Resonance of the Pure Land that worked quite well, as a means of keeping each other updated and to prevent radio silence and ultimately dropped tracks, but ymmv. Just sharing some ideas here! Looking forward to get this going again!

Ah yeah, I've heard about FL Studio and modwheels. Not sure what's up with that, since I don't use it myself, but it seems more people struggle with it. Not sure how long that Bitwig demo is valid (Bitwig is normally $129 with a year of free updates), but Bitwig definitely works well together with controllers with modwheel. Another option you could try is Cakewalk, which is free since BandLab took it over. I used it way back and rather liked it, and you can't beat the price of free: https://www.bandlab.com/products/cakewalk. My own setup isn't that special tbh, just an iMac, a Deepmind 12 synth that I merely use as a controller and a fairly sizeable collection of plugins and sample libs. Thanks for your comments about the recent releases btw, didn't quite expect it in a thread like this, but I'll take it