zircon

OK, thanks for clearing that up. I guess one of the reasons I was confused was because this didn't sound like any resynthesis I've heard before.

Haha, yeah, my current laptop was purchased around January '05 as well. The screen is really floppy (barely stays in place) but it gets the job done pretty well. MIGHT be interested in a new machine... I'm going to be repurposing my current desktop as a music making PC only, and I want another machine of some kind for gaming + internet stuff. However, I'll probably be getting a new laptop in a few months, so I'm not sure if THAT will be my main PC instead.

I did, but my impression was that the OP was manually inputting all of this data into the program ("we would read the info about the instrument into our program...") which imo puts it more in the additive end rather than resynthesis. I mean, it's cool either way, I'm not knocking it at all. I guess I'm just unclear on what exactly was doing the analysis of the original data.

Hmm... why would you classify this as additive resynthesis? Resynthesis implies that some form of recording is being analyzed and broken down into component harmonics, then literally re-synthesized from scratch through the synth engine. Among other recent releases, Camel Audio's "Alchemy" does just this. The OP's project seems like straightforward additive synthesis.

This mix is absolutely huge. I've been listening to it since MAG and that's all I can say about it. bLiNd is a master producer who's absolutely on the top of the heap when it comes to electronic dance music. Loved dancing to this!

I've wanted to remix Disgaea for awhile.

Round robins are basically multiple samples on the same key at the same velocity level. So, you can hit velocity 127 five times in a row and hear five different recordings. This makes samples, particularly drums, a lot more realistic because otherwise, even with a lot of velocity levels, something like a hat pattern or snare roll will sound like a 'machine gun' and not a realistic performance. We have 5-10 RRs per kit part which is definitely nice.

4X games used to be more popular, actually. Civilization was absolutely huge.. a blockbuster of its time.

Bump w/ info about the kits & gear! "Superfreak" (Milkboy Studios, Ardmore, PA) - As the name suggests, most of this 60s Ludwig 'Silver Comet' kit is rumored to have originally belonged to a certain funk music icon. The drums were recorded using high-end ribbon mics into an all-analog signal path, most notably a 70s Neve console with a few busted channels and lots of character. Outboard processors in the chain included gear by Empirical Labs, Tube-Tech, and Anthony DeMaria Labs. The saturation present on the higher velocities of some of the sounds, like the kick and snare, came solely from high gain running through all the tubes; no overdrive, distortion, or compressor saturation was applied! "Tape" (The Audio Lab, Milville, NJ) - This one was a real hybrid, the centerpiece being a 30s Ludwig Pioneer Black Beauty snare. The kicks and toms were Tamburo original series, along with an extra 22" Tama kick. Our hats, cymbals and rides were a mishmash of faded, junked up old metal… just what we wanted. Everything in the kit was recorded through an analog signal path then finally to an authentic, 24-track Otari tape machine before being dumped into Pro Tools. Mics used for this kit ranged in age and manufacturer. Various workhorse mics from EV, Sennheiser, Shure and Audix were used throughout, and to get the trashy, crunchy room sound, we used a trashy 70s General Electric cassette recorder mic along with an RCA SK-30. "Herodotus" (Real Music Media, Minneapolis, MN)) - John Gump (a.k.a. KVRAudio member Herodotus) recorded this drum set, which is the same make and model as Cream drummer Ginger Baker's drums! Mics used were a pair of Neumann KM-184s and Sennheiser 441s plus a Royer R-121. All of this went into some serious outboard gear like a classic UA 1176, Manley Labs VOXBOX, UA 2-610S and Manley Vari-Mu before finally going to a TASCAM reel-to-reel tape machine to seal the deal.

It just means we recorded a lot of hits. For example, every single part of the library has a bare minimum of five velocity layers and five round robins, while some parts, like the snares, have ten round robins and eleven or more velocity layers. That's a LOT of samples

Thanks for the comments folks Regarding the tightness/looseness of the hats, the Groove Bias library actually has both tight and loose patches as well as one that is more of a gradient from lower to higher velocities (tight -> open.) However, for this mix I just preferred the sound of the loose hat the whole way through, even though I could have loaded two sounds and switch 'em up. MattInc: I agree that it's more melodic than their stuff was, overall. But hey... hard to compete with one of the greatest jazz groups of all time. I actually finished this mix last night and subbed it, and hopefully you guys will hear the final ver in about a month.

Probably gonna be about $99, at least for the preorder.

I started this remix last night and did most of it today. I'm now hoping to finish by tonight since I'm feeling pretty inspired. It's a remix of "Image of Hero" from Phantasy Star Online, done in the style of the band Weather Report. http://www.zirconstudios.com/music/wips/PSOWR.mp3 All the drums are from my upcoming sample library "Groove Bias" which you can read more about here: http://www.ocremix.org/forums/showthread.php?t=23125

Great mix. I didn't get the chance to vote on the first sub but I was basically in agreement with everyone else about the first half being weaker compared to the second (mainly some of the strings sounding choppy and not legato.) This iteration, however, is definitely stronger in that department. I'm glad Derek went back to it. Some of the strings in the first half still aren't quite perfect in that they don't seem to really slur, but this is a minor complaint. As the other judges have pointed out, the second half could use a bit of a volume boost. Otherwise, the production is solid and the arrangement is very nice. Would love to hear this performed live. YES (conditional on part 2 volume)

Well, it only hits a few cities, not to mention there are a lot of bus/train options between those cities. That's why it probably hasn't gotten that much buzz. Still, I know a bunch of people that use it and say it's awesome. I'd like to give it a shot sometime in the near future next time I go up to visit my parents.

A few things; 1. You shouldn't be creating multiple instances for multiple instruments. You should be loading multiple instruments within Colossus and using MIDI Out channels to control them. 2. There are issues with Kompakt/Kontakt and multicore processing. Try disabling multicore processing (within FL) if you do end up using multiple instances.

The reason this occurs is simple. Let's say the company WANTS costumes as DLC. That's reasonable in and of itself, right? Sure. Now consider, in online play, how does the console render costumes that aren't on the disc or the system? Let's say you're playing someone who DID buy them, but you didn't. Do you not see their costume? If so, what's the point of the costume? If you do see them, then you HAVE to have the content. Hence, it has to be on the disc, even if it's an unlockable.

Anyway, was my answer sufficient for you? Are we all in agreement here?

Nobody is talking about making filesharing illegal. The concern is when the files being uploaded and tracked are distributed without permission of the copyright holder. And YouTube doesn't do that! What they do is listen to complaints from copyright holders then investigate specific files. That's what I'm suggesting trackers do. It's really not hard. Copyright holders can check torrent sites for their stuff, following up on files that appear to be infringing. If they are, they send a notice to the tracker to take it down. If the files are mislabeled, nothing happens.

Uh, technically, I guess, but it's about as prosecutable and significant as accidentally setting one foot on your neighbor's yard. That's "trespassing" but no one is going to do anything about it.

Well, 1. Why would anyone do that? 2. It's not relevant even if they did, because any company monitoring torrent sites for their software could just download torrents and check for themselves.

I'm pretty sure it is... besides, it wouldn't be hard for any organization to download the torrent and verify its contents.

True, but with torrents, there's usually very clear info files attached to each one detailing the contents.

I don't really think it's like Google. Google is extremely broad... it doesn't make any sense to force them to stop listing certain search results, not to mention they can't analyze every website to see if it's illegal or not. It's not like TPB or other trackers where they can very easily tell if a torrent they are tracking contains illegal material. Additionally, TPB has outright refused to work with law enforcement. Hence why I think legislation should be created to address this, forcing them to comply.

Haha, that's pretty awesome Archaon. http://soundtempest.net/links/how-does-itunes-stack-up-to-6-other-digital-music-stores/ ^^^ New article about digital music stores as compared with iTunes. I post a lot of articles each week, but I thought this one was interesting. Anyone interested in joining me as a writer?