zircon

http://www.zzounds.com/a--925434 buy thru this link.

That would be "Dublin Delight" by Makke, from the game Artura.

Therein lies the problem. Give players the ability to have real impact on the MMO world, and your world will break down because usually, the best, most resourceful players are also dicks and try to screw other people over for fun.

To be honest I'm not sure. My only external synth (a Korg X-50) has a VST plugin editor that manages the MIDI link.

It might. FL can definitely send external MIDI data... but you need to make sure your soundcard is receiving that data and routing it outwards. I don't know how to do that for your specific setup, but you most likely need to contact not only Creative but Roland as well.

This sounds a lot like Dead Rising, the only difference being D.R. is within a large mall environment, not procedurally generated... at this point, if someone did your idea they would just said it's ripping off existing games. I'd play it though.

Only if they're morons.

You need to set FL to send external MIDI data (it's a checkbox option) then set the appropriate receive port/channel on the JV-1010. Create a MIDI out in FL with that port/channel and you should be able to send the MIDI to it. Then you must set one FL mixer track in as the input for the soundcard where your JV-1010 is plugged, and record the audio in real time that gets played when you send the data.

If the signal is "overwhelming the input" of your soundcard, then just turn down the keyboard volume. If it's still not working, you are much better off just buying a new soundcard. Your recordings will be ultra-crappy otherwise.

Hey, happy birthday man!!! Why didn't you tell us earlier

analoq wins thread. I would say "electronic musician" is a good term though, considering it's already used this way and there's a magazine with that name.

Thank you very much!!! You actually touched on exactly what I was trying to do, make an album where the music can be played in the background w/o being too obnoxious (or in a club/dance setting), BUT if you just listen to it, there's enough happening to keep you interested. So I've accomplished my goal If you like Jill's voice, check out her thread in this very forum. She just posted a few previews from HER upcoming album, which we are collaborating on for some of the tracks.

There will be about 40 or so tracks.

Really cool! You're very talented.

Just heard some new wips (right from her laptop - they're not rendered) - fans of Prayer will be pleased I think

My first CD had art done by Moose, some guy in the #soundtempest IRC, at the last minute. Nothing special. Impulse Prime was done by Global Trance and jmr, from these forums. For Antigravity, I went with Cyan_Ide - who periodically lurks here - since he designed my website and is a pro graphic designer. I'm very happy with it.

Very nice production and execution here. It reminds me a bit of "The Frontier" in terms of sounds and rhythms. The samples ain't perfect but they're definitely passable, with detailed sequencing and a good level of realism. Plus, the whole thing is at a good average volume - I didn't need to touch my volume fader to compensate, which often happens w/ orchestral mixes. The arrangement is quite good, with a fair amount of dynamics, personalization, and direction. The original additions fit in well. Lastly, the ending is very much the kind of thing you would hear at the end of a credits roll in a movie... cool! A wonderful example of how, despite many arrangements of these themes (orchestral ones included), one can still create something fresh and creative. Good job. YES

This is a huge compliment to the mixer, given that those horns... aren't real

Lemme do a bit of arrangement analysis first. The intro (up until 1:39) is just playing notes from a minor chord that could be from either source. It sounds perfectly good as a lead-in but since there is no chord progression, I would say it can't be construed as direct arrangement of the source. It's original material derived from the source to lead into it. 1:38 to 1:52 as Larry pointed out is right from the (409) source. Directly after this, the pads are playing the chords from Cid's theme. 2:20 brings in the melody from it clearly, and we hear a gated version of it at 2:48 much like his MGS mix he subbed awhile back. A nice rhythmic variation. All the chords are there in the background to solidify the connection - 3:17 brings in an octaved synth on top. 3:47 is just like the intro, then it's over. So looking at it this way, 1:38 to 3:47 is arranged material - a total of 129 seconds. The mix itself is 317 seconds, making the arranged material constitute about 40% of the total mix length - exactly what Larry said, but I just wanted to break it down here While I liked Ghosts, I don't think this mix is passable. The production is fine - the sounds are polished and the mastering is hot. What arrangement you DID have was OK; rhythmic gating of the melody is an acceptable way of personalizing it. However, from both an OCR guidelines standpoint AND a general musical standpoint, having a mix where 60% of the tune is just intro and outtro is really not good. I know trance songs, even club mixes, run pretty long but typically you hear SOME melody or chord progression towards the end of the intro and at the beginning of the outtro. Even if all you did was work more of the chords here and little snippets of the melody here and there, that would still help immensely. Thus I am inclined to give this a NO. I do not believe this mix should be YESed by anyone given our 50/50 guideline. Even though I know some of us are trying to give mixer(s) the benefit of the doubt when possible, an octave riff with the occasional minor third cannot constitute actual arrangement unless that riff (or something) is VERY similar. Otherwise, someone could just submit a mix of ANY song in a minor key, do 4 minutes of octave or tonic note riffs with percussive and textural variations, 30 seconds of game music, and then call it a day. Such a pattern is too basic and could be connected to virtually any song, game or otherwise. NO

The execution of this mix is a really weak point. Some parts are wet w/ reverb and delay, like many of the leads, while the piano and bongos are up front and dry. The trance sounds don't really fit with the R&B/hip hop drum kit. In fact, across the board, I get the feeling that many of the sounds do not gel together. Try to decide on a single style you are going for and then find instruments and sounds to match. Is this sort of caribbean reggae? Trance? Downtempo electronica? The instrument choices are inconsistent, and as a result, sound messy. A more interesting beat as the song goes on would not have hurt, such as one with more kicks and snare hits, some fills, maybe toms here and there, or even just additional loops layered on top. Larry/Vig addressed what I had to say with regards to the structure and arrangement of the piece. You have some good ideas, but they're just looped repeatedly instead of developed and expanded. The abrupt ending doesn't help. All things considered this isn't all that bad, so just keep working at it and visiting our helpful forums (plus #ocrwip on IRC) to improve. NO

More mixes from popular games get passed because, amazingly, more mixes from popular games get submitted. In case you weren't paying attention in math, that also means that we REJECT more popular games as well.

Of course, it has been down and continues to be down, so the music forums there aren't much different than our WIP boards here.

That's exactly what we're doing, but we need a third fan

ARRANGEMENT BREAKDOWN: First a basic analysis of (69) Requiem of Spirit: a D minor chord with the bassline going from D to E to F and back. Melody is D F D A F D, a simple arpeggiation of the minor chord. (70) Spirit Temple: Intro revolves around G minor. Switches been F minor and Ab major. Melody is basically walking around in the Phyrigian mode randomly, while the chords go between G minor and Ab major. A simple synth part plays the upper part of the mode here and there. SO FOR THE REMIX... In the very beginning (0:00) the bass synth goes from F to G the same way Spirit Temple does. The gated synth then does the F -> Ab -> G chord progression, however the chords are simplified (just the tonic note) which makes the connection hard to pick up on. The instrument leads that come in soon after are not doing anything from the source as far as I can tell. No solid source connections after that for awhile. Before I continue, I might add that the leads in the mix ARE playing in the same mode as the original but since it's just a mode, you could really string together any handful of notes and it would sound *SIMILAR* to the source. That's what I think is happening here and that's why I think a lot of us are saying we "feel" that the original is being interpreted... really, so far, it's not. Frankly unless the remixer is making more concrete connections - taking larger chunks of the original melody and keeping the rhythms - I'm saying there's no connection. The bassline that progresses through most of the mix is not connected to either of the two sources directly. Neither have a bassline like that playing those notes. It tends to go something like "F G F G A Bb A F G" or "G F G F G D F G" etc. Those notes could fit into many chord progressions and while they could fit into the sources, again, I think there is no direct connection. Nothing solid. 1:36 - synth lead appears to be playing the first main melody from Spirit Temple, which shows up at about :32 to :45 in the source. Fairly direct. The background violin riff is original I think. 2:05 matches up with around 1:00 in the source. 2:17 is original as far as I can tell. 2:33, the gated pad is playing off some of the chords in Spirit Temple liberally. Barely any connection though. 2:59 the violin could be interpreted as playing a variation of Requiem of Spirit. The rhythm and melodic movement is basically there, though the notes aren't exactly the same. It's a stretch but I'll give the remixer the benefit of the doubt here, mainly due to the rhythm. Back to 3:26 and beyond, more original stuff. If any of these synth riffs are from something I don't recognize them. Again, they bear similarities to different parts of the source, but even after listening to the source over a dozen times and trying to do A:B tests I'm not finding a straight match. So overall, there are not that many places where I can find direct connections with either source. Those that I can easily constitute less than 25% of the remix. There are chordal similarities, there are melodic similarities, there are rhythmic similarities. But a similarity is not a 1:1 match and, without SPECIFICS from the remixer, I'm unable to find any more direct connections.

I do appreciate the help but as I said I'm probably out of luck. We've looked into portable A/Cs and they require window access also, plus floor space that we really don't have. As I said, we can live with it. Maybe a third freestanding fan would help.