SnappleMan

I am an enigma wrapped in a riddle wrapped in bacon then battered and deep fried.

Metalheads are fucking idiots. Music is music, and all music is good music when done well.

This discussion is hilarious. Dubstep has some interesting components to it for sure, and it's best to use those in whatever way you want. Getting into "OMG!! FULLTIME DRUMZZ NOT DUBSTEP!" silliness is lame. Let me put it another way: Having sex with your mom doesn't make me your dad, but it does still give me at least one level of authority over you, and in the end, it's still having sex with your mom. But I guess it's all about electronic artists being desperate to seem original, and they'll use any miniscule difference to create a bogus "new genre" that's just a slightly altered version of an existing genre. That would be like me saying that metal is when the riffs don't use any tripets, metalstep is when riffs use triplets but no swing or odd times, jerkmetal is when the drums are halftime and all the songs are in 6. As Vanilla Ice said, it's all about that itty bitty ting.

+1 on Carvin as well. I started with a Fender knockoff but when I knew what I wanted out of a bass I went to Carvin and never looked back. Carvin guitars are the ultimate also, I only use Carvin gear now.

A Fender Jazz bass is all you really need unless you have specific needs (number of frets, neck scale). Everyone needs at least one Fender Jazz or Precision bass.

Nice, now their piano roll works more like the Cubase piano roll.

Every song has a chord progression in it to begin with. Sometimes it's clearly expressed in the form of backing chords, sometimes not, it's your job to find it. The way you SHOULD go about a remix is: 1) Learn and understand the song. 2) a) Embellish what is there and build on it. or Reinterpret what is there and make it your own. or c) All of the above. 3) Take time in considering the instrumentation and pay attention to the timbre of the original, that way you get a better grasp of what the original arrangement is doing. 4) Present your version in a manner which is enjoyable to listen to and well balanced sonically. The chord progression is the most important part for me when I remix a song because it gives me clear ideas on where to go and what to do. If you cant hear the progression easily then just play some whole notes over it, and build it that way. Whichever notes sound best under each part are usually the correct ones. If you can't do it that way, then transcribe the song into MIDI and look at the notes in a piano roll, line up all the notes in a measure (usually works best with arpeggios) to start on the upbeat and then you see the chord shape they form, that's the chord playing under that measure etc etc. The point is, the progression is already there, you need to find it and work with it to make a remix that is successful. And don't limit yourself with arbitrary roadblocks like "current skill level", you can learn anything at any time if you dedicate real time and concentration to it.

To put it into perspective, I do NOT use a paging file, I have it turned off. If processes ran solely off of virtual memory at a limit of 8gb per process, how am I able to use windows at all with no page file and no virtual memory? EDIT - also what dannthr said.

You're misleading yourself. Physical memory is always mapped to a process first and foremost, as it's much faster than virtual memory. Virtual memory can be mapped to a process when it's not used by a sub process or when a process specifically needs it.

That's just virtual addressing. If you have enough memory then a process will not need to access virtual memory to run, and in those cases you can have a 64bit process running completely on hard ram up to crazy amounts like 128gb. I have 32gb of ram, and I use plugins that load up to 10-14gb each, in a single process with no paging.

Yeah it was a typo, I meant dbmaj7 and bmaj7.

Do keep in mind that the part in the actual song is played on an octaved piano patch, so you're hearing doubled and tripled octaves of the bass notes and all that which may be throwing you off, but make no mistake, those are just major 7th chords any way you rename em.

You can get hung up on bullshit theory and inverted butthole prolapses or you can just play the part and learn it, here's the MIDI: http://dl.dropbox.com/u/32558357/p4_int_snaplemen.mid

Those are just major 7 chords. It goes dmaj7 dmaj7 dmaj7 (F is the bass note) bmaj7.

Delete the Cubase prefs folder. It's located in: C:\Users\*username*\AddData\Roaming\Steinberg You'll see a Cubase 5 (or whatever version you're using) folder in there, delete that. It'll reset your Cubase install to the way it was when you clean installed it, that means it'll remove all your settings and customizations (including VST paths). It'll also cause Cubase to reset itself completely and is the first step in diagnosing serious problems with it.

Reason seem to be more of a synth that uses plugins to behave like a DAW. Very strange piece of software.

Anyway, aren't threads like these frowned upon? Don't we have sticky threads that explain all this shit?

DAW wars and PC vs MAC are all a bunch of baseless bullshit, like Gibson vs Fender, Roland vs Yamaha, NESkimos vs Minibosses. In the music world (ESPECIALLY the professional side of it) all it comes down to is tradition and principle. You have to use Protools because you have to use Protools because some asshole who got lucky with a hit album in 1983 uses Protools. What it comes down to are the key differences in these software packages: Pro Tools was crucial for high end recording because of the hardware that it interfaced with. The dedicated PT boxes (digi 192, HD, Lynx, Prism) have the absolute best A/D converter options available. Pro Tools is severely lacking as a DAW when it comes to compositional tools, since it doesn't NEED to be the best at that. Cubase/Sonar are the best DAWs you can get for composition. They have the best feature combinations for MIDI, audio, scoring, mixing. What makes them stand out is that they both support VST, which is the premier plugin format. For me, Cubase works must faster (less UI lag and such) and it has the absolute BEST vst support (since VST is native to Cubase and the other DAWs have to use internal wrappers to support it... or logic with it's external wrappers that barely support it without crashing). Logic is good but most people use it because it's an apple product and most musicians who swear by macs are uneducated and they own every single ipod/iphone/ipad model on release day, they don't count. It works well for composing, not so well for mixing, and it's overall a nice DAW. Lack of decent VST support means you have to use wrappers that don't work correctly with every plugin. Reaper is great on paper, I don't like it. Lots of people love this DAW, for me the workflow isn't ideal and the VST support is buggy at times. Great price, great features. FL is decent. It doesn't really shine in any one area but it works well overall. I've heard some great music done by people who use FL. From what I used of it, I didn't like it at all. Reason is not a DAW. Overall the way it works for pros is, they'll compose music in Logic, Cubase, Sonar. They then export the score, demo, whatever else, and have the song recorded on a Pro Tools system. Now this is all changing a bit, because pro tools isn't as exclusive as it used to be. In the last 5 or so years there has been a huge boost in development of mid-priced high quality ASIO interfaces, so much so that pro tools was forced to start supporting it due to declining business. So the entire playing field is slowly changing now. I use Cubase primarily, I also use Logic and Pro Tools. The ONLY reason I use Pro Tools is when a client says that protools is a must because they somehow know that protools is the best sounding DAW. The only reason I use Logic is to import Logic projects from clients who use it. As far as computers, I use both PCs and Macs for music. I have Cubase and Protools installed on both, Logic is Mac only so that's that. I overwhelmingly prefer to use PCs and Windows for my DAWs. OSX is good but the window layout and lack of workflow makes it feel more cumbersome and less productive than Windows. Performance wise there is no difference, since PCs and Macs both use the same internal hardware. My PCs interface better with outboard gear and work better with PCI audio cards, the Macs I use primarily for people who believe that I need a mac to correctly mix their shitty punk rock wannabe album. So basically, I prefer Cubase, I prefer PC, and I prefer Windows. The only reasons I use Pro Tools, Logic and Mac are because they help me get gigs because some people think that you need those things to be a musician. There is no right or wrong answer to any of is. You have to try all the available demos and get a feel for how your brain likes to make music. All these software packages do basically the same things, the difference is in HOW they do these things. There is also no right answer for hardware either. PC and Mac work the same, but PC needs more maintenance and more knowhow when building it. Macs are easier and less problematic, like a bike with training wheels. Most professionals don't want to mess with defragmenting and formatting and selecting compatible hardware and tuning their ram and working out the best cooling/OC solutions, they just want to plug in->turn on->compose, so Mac works for that.

DAWs are perfect for composing music. That's why they exist.

Learn to take critique.

You kids sure do have some hangups about all this. Why not just practice till you can actually play?

I don't know, maybe it's just me but I like hearing small mistakes in a recorded performance. When I hear something that's completely perfect it sounds off. I usually record anywhere between 5-30 takes of something to get the right feel (or to get it right because I usually tend to play beyond my abilities). If you have to speed something up then you cant really get a feel for it in real time so you'd probably end up screwing up the feel, and it will sound fake and awful. I can imagine people wanting to believe Dragonforce sped their shit up, but I don't really hear it, every case of sped up recording I've heard has sounded like pure crap. Unless they're doing 5-10bpm boosts which may sound decent then, but who cares about Dragonfoce anyway? Fucking awful band ruined a perfectly good Saturn game...

14:02, get it right!

Busty also counts.

Then I have no other explanation. Looks like you're all just lazy