SnappleMan

Wait so Larry finally got out of the bubble and got a hint of what the rest of the internet thinks about OCRemix and he flipped out? Whatev, Larry you gotta fight for what's right, I support you. If you don't stand up for what you believe in, then might as well quit right now.

The best way to improve your keyboard playing is to simply do everything you can on keyboards as you work on a song. This means transcribing the song, arranging and performing the parts all on keys. You'll be sloppy and klunky at first, but it's not as dynamically dependent as an acoustic instrument so it'll sound good when you finally do get the take. Not only does that build your chops but even the most robotic live performance adds character to a song.

Now how's about BGC's wife helps me win orgasm? LOL j/k I'd much rather BGC help me with that. So handsome.

Thanks for looking out, Brandon. <3

Try to find the Yamaha s-yxg50 VST and s-yxg50 driver for windows XP. They have trouble working in Windows 7, so if you cant get em to work just get Edirol Hyper Canvas.

The leads sound badly autotuned, but the rhythm sounds convincing.

I love chipsounds.

Very cool idea. As a keyboardist I support this.

When going the USB/FW route you do get latency that you can very much feel. With USB the lowest I can get is about 10-13ms and with FW the lowest I can get is about 8ms. For $300 you can really get some great stuff but it all depends on what you're looking to do, and since recording and latency are issues for you I'd stay clear of those. Your best bet is to look at good PCI cards like: Echo Mia Delta 1010lt ESI Audio Julia Audiophile 24/96 (not recommended) These all fall within the $50-200 range. If you are patient you can get the more expensive ones (1010lt or MIA) for around $80-100 on ebay. If you want to extend your budget by about $200 you can get some more robust cards that offer you more along the way of inputs, but with any of these listed above you're looking at latencies of anywhere between 2-5ms which is perfect for recording. The next thing to consider are the drivers. Most of the companies making these value priced cards have moved on to USB, so many of these are discontinued. The good thing is that Echo Audio is a fantastic company that continues to support their discontinued products with driver updates, so they have windows 7 drivers. Same with M-Audio, the Delta series drivers for windows 7 work flawlessly. But yeah as far as advice goes, you want to make sure that there are compatible drivers for any soundcard you buy (PCI, USB, or whatever else).

Gotta admit, I couldn't help but check her out last magfest. Very deceptively round and plump.

From my experience I've found that you can learn a lot from people of any skill level. Don't limit yourself or others by setting invisible lines of class and status. Sometimes I get more help from non-musicians who don't get hung up on technical things but instead can tell me if a song feels right to them for whatever simply worded reasons. As musicians we always seem to give feedback by applying our own methods and principles to a composition/instrumentation/mix, and sometimes that isn't really the best type of feedback.

I thought viena only worked if you had an SBlive installed?

Here I made an example: http://dl.dropbox.com/u/32558357/ocr_powerdrums_test.mp3 That's just a normal drumkit mixed with just EQ and compression, no reverb. The big snare sound is coming from the room channel. The key to most drum sounds is in how you treat the room mics and how much of the overheads you let in. For this example I used a very fast attack on the room compressor (I don't really want any transients from the room mic, just the huge reverb that's naturally there) and a very fast release time (as fast as 10ms) to keep it from reducing that gain and letting the sustain out. As for EQ I took out a bit at 200hz to kill a bit of the low muddiness that rings out. All the attack and snap comes from the close snare mics, they've got a good bit of compression on them to bring that out and add some natural sustain on top of the room sound, (about 4ms attack and 100ms release) and bit of low end EQ around 200hz to add that thick body the sound needs, also top end EQ at 2k-5k and a tiny bit at 10k for the snap. From here I can take this and layer on a cheap 80s power snare sample and make it even bigger, or turn up the room mic and get more of that huge live sound, or leave it alone. Hope this gives you a rough idea.

Those are layered samples. You can get that sound either by EQ/compress/reverb a normal snare or layer a pre-processed cheapo GM POWER KIT sample over your drum track.

I think he means like a program that'll download the sounds from your microsoft GS wavetable synth and creating a soundfont from it.

From my experience the most important factor in vocal recording is the performers ability to sing into a mic. You have to be able to know where to naturally position yourself as you sing so all your tone gets focused and shaped as it's being recorded, otherwise you'll be doing a lot of cleaning up, compressing and re-recording. So yeah, learn how to work a mic.

I'm afraid that it'll just be that one scene that has those characters and the rest of the movie will have little to no actual VG references. But that doesn't matter because people these days only care to have a slight reference to something for them to think it's cool and paying homage, so give them something to facebook over and you'll sell millions.

Wrong forum.

Hah, people flaked on me so I ended up doing the whole thing myself

So this thing is done. No plans on when/how to release it yet. Just wanted to let everyone know.

Two good songs, lots of crap, good turnout.

Looks very cool so far. If you're looking for a synth/controller you can't go wrong with Kronos.

There are different characteristics of a sound that live in different frequencies. What you want to be able to do is judge which aspects of which sounds you want to highlight, and then boost or cut the EQ to make it fit. I never have two instruments playing the same thing in the same registers, so in the case of an oboe and piano, I'd listen to the composition and hear what each of them is doing, and then make sure that there isn't much melodic overlap between them (unless you're going for a unison). Something else that you have to learn to do is to lose focus within the mix, cuz if you're locked into the oboe then you'll hear everything that's fighting with it, but if you can step back and lose that focus on the oboe (or any one instrument) you might hear that they really aren't fighting that much. Once you do all you can do with EQ, you should move on to volume and panning. Automate the oboe to move away from the piano in the panning field when they share the melody (if your piano is stereo then even better), and also automate a volume envelope to raise the volume of the oboe either during or before the part where they clash. I said before because you can trick the listeners ear into focusing on the oboe by boosting it before the unison (if for some reason raising the oboe during the unison kills the song). That way the listener already has the oboe in memory and will automatically follow it even when it's being buried under other stuff in the coming section. Just always remember that it's very different to focus into sounds as a listener than it is as a mixer.

10 or 15 years ago things were very different, and most digital plugins sounded like ass. These days there's really no difference in the sound you can get, sure some bitter oldfucks and knowitall music students will disagree but that doesn't change the facts that the line is pretty much blurred to the point of nonexistence. So all that's left now is to either use whatever you can find to make music, or to make excuses as to why your music sounds crappy "if only I had _____ and _____."

Just sayin.