DarkeSword

Aureal Vortex cards are known to be used in the minting of Zircoin. There are no plans to support Zircoin, now or in the future.

I think that the most exciting thing about this is the technology behind it. NFTs and blockchain technologies have been rightfully dinged for driving up the prices of consumer-level graphics cards, making it prohibitively expensive for gamers to purchase things like 3080s and the like. But with OCR's pioneering work on RFTs, we've managed to pivot and repurpose older consumer-level sound cards to handle the bulk of the processing power required to a) initially funge, 2) refunge, and d) ultimately defunge the tokens in question (if needed). We have an absolutely massive array of Creative Labs Sound Blaster Audigies in our VA-based data center faciilty. It's very impressive.

Yeah I'm gonna agree with Nase. Notation does not intrinsically convey more information, it's just an older and more established method of describing music that performers are trained to read. Piano rolls are actually very good at conveying information; everything sequenced in a piano roll is *discrete*. If you write a B♭ and a B♮ on a piano roll, you can very clearly and cleanly see that they're different notes and you can understand that one is higher or lower than the other. But if you want to write a B♭ and B♮ on a staff, you have to take into account both the clef and the key signature so that you put the notes on the correct line and also write or leave out the ♭ and ♮ signs, because they're on the same line; plus a staff only has 5 lines, so if you're writing higher or lower ones, you're messing around with ledger lines. On a piano roll, if you want a note to have a certain duration, you just make the note that duration. There's a numeric value associated with the note. On a staff, you don't have that. You can say this is a staccato eighth note, but what does that *mean*? How long is it, actually, in relation to the tempo? How is that different from legato? I'm not here to argue against a robust, notation-based input method for DAWs. It's definitely a gap that needs to be filled, and a lot of work to write something that can interpret and translate those instructions into something a sample engine or synthesizer can understand and execute. But keep in mind that sequencing in a DAW is not the same as engraving a score for live, human performers. Trained human performers can read detailed sheet music and still differ on the engraver's intent. The data you put into a piano roll can only really be read one way.

*shrug* I guess the exclusivity thing just doesn't seem all that bad to me. MS already puts all of their stuff out on both Xbox and PC, so there's options, at least. I guess if you've only got a Playstation and are interested in playing the latest from ABK, you're probably out of luck, but at a certain point you just buy the console that has the games you want or get into PC gaming. Online gaming is less fragmented these days with stuff like cross-play too, so that's less of an issue. It remains to be seen how hard MS goes on exclusivity; ABK made a lot of money on their Playstation games, so the value proposition of using exclusivity to push sales of consoles might not actually be all that high. MS might find it more profitable to keep publishing the games that have traditionally always been multi-platform on non-Xbox devices to keep that revenue stream going. I think Phil Spencer once said that he'd love to have Game Pass on all of the consoles; I think he understands the value of using multi-platform publishing in a strategic way. I know there's an argument against monolithic corporate consolidation in gaming, but there's still a lot of game devs around that are on their own (AAA, mid-tier, and indie). I think Microsoft buying up ABK and, fingers-crossed, cleaning up some of the really bad workplace environment stuff we've been hearing about can only be a good thing.

Why "nothing good?"

Kotick is staying on until close, after which everyone at ABK will report to Phil Spencer, who is the CEO of Xbox Games. Kotick will most likely not retain any kind of leadership role after that happens.

Got it.

Same. I wish FL had a way of communicating its piano roll slides to external VSTs and the like. Would be wild to link slides to mod-wheel control.

FLStudio recently rolled out a brand new, rebuilt-from-scratch, 64-bit Soundfont Player. Still viable.

Here's an old soundfont I've used in a lot of my older stuff called Drum Set Industrial. http://soundfonts.darkesword.com/fonts/drums_industrial.sfpack It's an sfpack; use this tool to uncompress it. I apologize for the weird, esoteric compression method; I'll get around to rehosting all of those soundfonts on my soundfont site as SF2s eventually.

Alright I'm locking this. This discussion keeps going in circles, so let me just be very clear about what you can't do: Do not use OC ReMixes if your game is for-profit or revenue-generating. Do not use OC ReMixes if your game is hosted on any storefront that has the potential for payments and/or donation services, even if you're not charging money for it. This includes, but is not limited to, Steam, Itch.io, and mobile app stores. For game projects that are distributed any other way (torrent, personal hosting, Newgrounds), you must have permission from the artists who wrote the remixes you're using. OC ReMix, as an entity, does not grant you permission to redistribute modified versions of the music files we host here, but if the individual artists who wrote the remixes are okay with you using their remixes in the context of a not-for-profit game, then go ahead and do whatever you want to do.

We don't use CC here.

No.

You can't use OC ReMixes in any for-profit game. You also can't use OC ReMixes in any game that would be published on a storefront like Steam or the Apple/Android app stores.

Or else what? Nothing wrong with posting a deal for EW products. What's weird is you're bumping an old thread where the deal is probably expired with a veiled threat. Don't do that.