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About Nase

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    Kirby (+1500)

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  • Collaboration Status
    2. Maybe; Depends on Circumstances
  • Software - Digital Audio Workstation (DAW)
    FL Studio
  • Composition & Production Skills
    Arrangement & Orchestration
    Drum Programming
  • Instrumental & Vocal Skills (List)
    Electric Guitar: Rhythm


  • Real Name
    Joshu Skowronek
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  1. Nase

    Interview With Hiroki Kikuta - Seiken Densetsu 3

    bold and honest, i like it. secret of mana's OST is like mike oldfield's 'tubular bells' to me...unparalleled greatness and timelessness, never again achieved by the artist. not to say the other stuff was bad. his latest stuff on bandcamp is quite good:
  2. just quoting this for the yellow graph on the right side, illustrating how short a loop cycle can be. many super nintendo sounds have a really simple single duty loop cycle somewhat like this, but an attack portion before that which makes up the characteristic part of the sound. the loop cycle then functions like an oscillator in a synth, controlled by an ADSR envelope to make it gradually fade away. if that loop is just off by a tiny degree, i.e. the wave doesn't line up, it begins to crackle, sound off-key. the more mathematical the waveform sampled is (sine, square), the easier it is to loop cleanly in a single cycle. the more complex the overtones of the instrument sampled are, the more likely it becomes that you cannot capture its essence in a single cycle loop, or a couple, or many. the perfect loop can be anything from a tiny fraction of a second to a couple seconds, really. it's a lot of trial and error, basically, before you find something musical with some waveforms. on the plus side, you get a little heureka! moment when you find a loop point in a classic waveform that sounds exactly as the original. this all applies to the playstation era as well, although they had a little more disk space to work with by then, and redbook audio capability if desired.
  3. that's perfectly possible in the soundfont standard. multisample, LFO. the first real barrier of technology with .sf2 is round robin. what is this 'iffy quality' you're talking about? it's people not putting in the work to find the right loop points. .sf2 absolutely has everything needed to recreate SNES instruments, except the chorus/delay/reverb unit of the SNES soundchip. it's not a matter of technology, it's about the fucking right loop point. the relevant technology has staid the same for 30 years.
  4. .sf2 just happens to have a couple of the best sampled sounds ever, among a much larger percentage of crap. 2 decades of hobbyist sampling, don't get that in any library. worth preserving. unlike more complex fonts, the snes ones are easy to recreate in another sampler, of course.
  5. dood it really didn't work on both my machines. it produces an empty wrapper stating that fsp can't be loaded in 64 bit FL. are you really sure you're opening it in 64 bit, not clicking on the .flp and it goes 32bit for compliance? did you use 64 bit plugins in those projects? aren't they getting bridged? i'm finding it unlikely that you overlooked that, so i'm the more confused. i'd like to have fruity soundfont player to go back to for some old gems.
  6. huh? are we living in parallel universes? if yours has a 64 bit fsfp, i'll gladly join yours...if there are no drawbacks and raining donuts, too. no seriously, i spent a particularily useless portion of early last year trimming my netbook to just contain 32 bit vsts, as i wanted to keep the sf player on there. i'm confused.
  7. sadly, directwave is also pretty bad as far as sf2 import goes. it's way worse with complex multisamples than anything else, but with the typical snes soundfont, there's usually 2 problems: way too high pitch for everything (bitrate thing i guess, easy to fix), or loss of loop points for some instruments (harder to fix, obviously). but directwave is a good sampler. being an FL guy, i like the seamless integration. also good for creative sound design (built in fx, mod matrix), but i haven't done any exact looping of samples with it; can't vouch for it being easy to use for authentic 16bit music.
  8. this thing is accurate, lots of work to get into, doesn't use soundfonts but the .spc file itself. that means you definitely get the data the composers used, not whatever the hobby musician did with samples ripped from the rom. if you can get jiggy with FL, the 32 bit version still supports the legacy soundfont player, and that one usually plays as intended (i.e. no/fewer wonky loop points resulting in the crackles you experience). naturally, .sf2 support just isn't getting any better. there's some .sf2 programming masterpieces around from the late 90's, but good luck finding a modern sampler to play them back correctly according to the old Creative standard. stuff like vintage dream waves 2.0.sf2, which while not based on VGs, has that same min/max spirit...provided the right playback, you can get hundreds of patches at less than a hundred KB, which is down to meticulous programming and using all of .sf2's inherent capabilities. but not to digress... the comprehensive answer is: get ahold of the .wav samples, be they encoded in an .sf2 or not, and learn more about looping samples, in any given sampler. the SNES did not have any capability to blend loop points. i'm assuming you don't know what that means. in a modern sampler like kontakt, you can relatively easily avoid said crackles by blending. what this means is you don't necessarily have to find the exact loop point in the sample, as used in the OST. you find something that is close enough and let more recent technology do the rest. it will sound close enough. if you want meticulous authenticity though, and no existing .sf2 sounds right, you might have to delve into the craft/art of looping samples the old way. you need a sampler that shows you how the waveform is looped, and allows you to exactly correct the loop. good if the sf you use plays mostly right in your sampler, better if you can correct any imperfections caused by faulty programming or import. may sound daunting...however, any work you put into this subject matter puts you into the shoes of those old composers a little. wrestling with crappy music technology and cartridge space, turning out the best music per byte. basically, basic knowledge about archaic sampling technology is essential to becoming a well versed '16-bit musician' all this is not necessary at all to make good music 'in the vein of', but it can be fun and a deepening experience! those loop points can be bitches, tho...... PS: if you're just using a basic software for soundfont playback and have never pondered how it works under the hood, this all might read like jibberjabber; it helps immensely to see a visual representation of how the sample is played and looped, which a basic soundfont player probably won't provide.
  9. this is a simple feel good tune, made in a distinctly not feel good time last year. hope you like it! resonates for me, like a good entry in a diary. gave me some good times just musing and freestying over it.
  10. one of those tunes never forgotten. this was formative years for me. this was released just about the time i started making music for real. about the incantations, the last two still sound as 'kumbaya', 'rastamon' to me. i think that's just awesome. i love how this shifts a couple notes and thus transforms it all into pop. it's all in the original, it just took a couple notes. talking theory, the minor/major seventh embellishment in the melody is incredible. it's the same in the original, but only in this tune it becomes something special. i haven't heard it elsewhere. whole thing is what remixing is about
  11. You convince yourself it’s the bees knees and work with it. It’s mostly psychosomatic it is harder if you have a lot of stuffand can compare. So you really just buy 1 and tell everyone it’s the best, and then believe that urself and use just that. This is the kingly route. I was too stupid to do that, as well. really, everything is pretty good these days. It sure beats making music on an iPad.what a horror.
  12. All formats are interesting. dookie, my first album, is 39:41 and has 14 tracks. I’ll pick that as perfect. Completely arbitrary
  13. some minor sequencing efforts have commenced. i am happy nuf about it, tho nothing to write home about. it's all flstudio stuff, except 1 massive. trying to make some music again, bear with meeee! it's super unfinished at parts i just want some listeners
  14. Nase

    Fl studio

    my new favorite sequenza! things are coming together and finally will i be encouraged to do some weird signatures. cheers to gol BOUT DAMN TIME now for some easy color mods to tweak the grey, should b easy with the vector stuff now, right...? is it already possible and i missed it?? but rly i love this version and the last one, everything is better now! the old pattern blocks legacy workarounds are no longer missed. time signatures do seem a little convoluted with the piano roll still displaying 4 4 when you go like 7 8 and only the playlist reflecting that change, am i missing something? it still is an improvement. cheers to 20 years of FL or 14 for me. cheers to the program that made me discover you can do more than shitty midis on a computer. they can stop updating now...or i will.
  15. Nase

    8-bit music theory

    PIZZA!!cockshit asspiss motherfucking dope FISHHHHH all hail to the king!!! from nizza