Nase

.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, folks...you 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.

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.

huh? https://forum.image-line.com/viewtopic.php?t=139225 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.

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.

http://picopicose.com/software.html 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.

https://soundcloud.com/skoshu/rasta-in-space 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.

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

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.

All formats are interesting. dookie, my first album, is 39:41 and has 14 tracks. I’ll pick that as perfect. Completely arbitrary

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

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.

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

crank the amp up!!!!!! bass sounding good. tarncegate synthy kinda boring but seeing what you goin for. needs a more biting sound, maybe layer the guitar with another more abrasive sound, a second guitar with a fuzz pedal, or add another synth to kind of help people overlook the guitar. it sounds a little bland by itself. articulations? edgier sound? something anyway. sorry if i'm being anal but this sounds a little like you wanna master a specific sound so i thought i'd mention ma beef

vocals kickass, sound too abrasive, not like hardcore too abrasive, just a bit too much for its own good. i'm getting a kind of qotsa freakout vibe from this, except much more OFEOIAFDPIFOADKGPE=GjweJr3i0ri3i0OKE"=dksfsidfoi. is this stoner metal? METAL BROFIST SISTER! is this shreddage? let's make a joint thread for some bananametal oh yeah do post the lyrics, i wanna know whats up with that insterdan, i feel soooo old loosing connectun

it feels so wunderbar to export anything right now. i used to make metal wanks with good old FL 6 back in the day. this shreddage is pretty good for that. i remember having lots of files like this much worse albeit, with FL SLayer and sf2 and whataveyou. it's a pretty good homage to my FL Slayer days. gammaRAY SHITCUNT.mp3

u on crack? no seriously i'm sure you'll find a few fitting ones, but uh....why? but uh, pick anything by mazedude. not to fit the mood but to crash your wedding with some hard core video game remixes. isn't that what you really want? COEM ON but if you really want something that goes with a wedding, maybe try some of the jazz 'standards' performed by live players. i can remember some pretty danceable organic jazz remixes of super mario classics and such. band name escapes me. as i said there is stuff that's fitting somewhere in there, but good luck finding even 1 tune that makes people dance on a wedding. then again, i haven't been to many weddings, and maybe it's a nerd wedding. what do i know edit: oh, you specifically said it's not a nerd wedding. good luck then

learn to sample. get a simple sampler. if you want bad sampling, you can do it yourself. use burps and farts for melody, make all the mistakes that constitute bad sampling, like shabby loop points, uneven pitch over the length of the sample, and so on. positive side effect, you kinda learn sampling without noticing if you just do that. really, it's super easy. or get a casio sk-1 and you get a shabby but musical sounding result. so, either an archaic sampler or a modern one that you can't use. or use soundfonts. cheesy outdated soundfonts are great for this too. i had a lot of wacky soundfonts, one only consisting of james brown samples...shame i deleted all that crap years ago

protricity - krool intentions. LISTEN

i think what most people miss is that 'stiffness' is a property of rhythm that can be as expressive as any other. in the right place, used deliberate. that's a very neat point that DMT Produktionen brought up with the way Nintendo music tended to sound (for example). stiff can sound expressive, relaxed can sound expressive. both together is fun (this is just swing and no swing in one song, there's no humanisation in that sense of the word today, but it's pretty funky) we just got the trouble with computers that 'stiff' is so easy to do now, as in exactness. so it's not as appreciated anymore. but really, listeners don't care in the end. rhythm is free, and slavish rhythm is another part of that freedom. it's all awesome depending on context, genre, juxtaposition of different rhythmic stuff....blabla. btw humanization was literally the ONLY thing i heavily practiced in the last months when i was sequencing. it's worth it to really really try out everything. grid sequencing sucks. the problem with stiffness is really just that there's too much of it and it is not deliberate. learn to sequence un-stiffly, then learn to sequence stiffly and then you have the FUNK. STIFF

you think the non-snes versions are gonna be anything like the snes versions? this is sam we are talking about.... it might just be from scratch with a couple thematic connections unless he finds a way to directly midirip all the 'snes originals' and makes everything sound super awesome with kontakt in 5 minutes. who knows.

someone should make a game around these. this is 'just' snesology now. but you needed the illusion of them ending up in a game to really come that far with your snes expertise. it's cool, innit? extreme mockup. are you gonna stay in the project? feeling frustrated with it or good to write another 20? thinking about it, why don't you just rename it part of the snesology thing? i mean it's all a brainfart until the music meets the game and is released, right? a wonderful brainfart

use the presets. you don't have to learn FM synthesis for the alien bloops - many normal synths have enough routing and/or fx on board to do very strange sounds. FM is not for everyone. i chickened out long ago. once you get better at subtractive synthesis and effects use, you will realise how much advanced synthesis you need for the sounds you like.

i'm confused. the thread wasn't intended 2 b about copyright, right? i think the question was, do you think it's lame/cool to use voice snippets. i would say it can sound awesome and/or cheezy. i happen to like the cheeziness in psytrance/goa, for example. overuse is a problem, but that can be funny in some genres and even a perceived quality of it. Wutz with the copyright topic fetish ok nvm i see it now, at the end of the post (not even clear if OP was thinking about copyright versus work ethic or whatever.) idk, i'd rather talk about good and shitty examples of sample use or whatever. I YAWN AT this ever recurring legal 101 topic that is almost completely irrelevant to amateurs and aspiring technotarncers. EVERYONE SAMPLES STUFF FOR FUN ANDVOICE IS FUN

oh btw i remember my love for manowar now "The Gods Made Heavy Metal" In the beginning there was silence and darkness All across the earth Then came the wind and a hole in the sky Thunder and lightning came crashing down Hit the earth and split the ground Fire burned high in the sky From down below fire melted the stone The ground shook and started to pound The gods made heavy metal and they saw that is was good They said to play it louder than Hell We promised that we would When losers say it's over with you know that it's a lie The gods made heavy metal and it's never gonna die We are the true believers It's our turn to show the world In the fire of heavy metal we were burned It's more than our religion it's the only way to live But the enemies of metal we can't forgive Cause we believe in the power and the might And the gods who made metal are with us tonight The gods made heavy metal and they saw that is was good They said to play it louder than Hell We promised that we would When losers say it's over with you know that it's a lie The gods made heavy metal and it's never gonna die We believe in the power and the might And the gods who made metal are with us tonight We're here tonight for heavy metal are you ready in the hall They have chosen us and we have heard the call Gonna tear the roof off with our sound Crack the walls and shake the ground Fight tonight for metal one and all Cause we believe in the power and the might And the gods who made metal are with us tonight The gods made heavy metal and they saw that is was good They said to play it louder than Hell We promised that we would When losers say it's over with you know that it's a lie The gods made heavy metal and it's never gonna die i love this. anthems to the creation of metal