Nase

that's the thing, i'm totally past that. i can work with them very quickly, and while you don't have to like my music, you'll have a hard time detecting any blockiness. and adapting to the newer patterns will mean a lot of work, specifically because i don't like them much to begin with. my ideal would've been a block environment that takes some visual cues from the new patterns, making them more readily identifiable. i just wish they kept a lot of the rest, even if just as an option. see, i don't think there's anything mandatory about 'going with the times' here. they decided for something which i found a bit worse, sum total. they also had the courtesy of keeping the old way in the program for a good while. so i'm ok with it. it won't change my mind. the 2 different pattern styles, they're not an upgrade route where one is better, they're 2 slightly different ways to make music. i get both of them enough to clearly prefer 1. personal choice. EDIT: i got a better answer on it now. i think i prefer the old patterns BECAUSE i need to create a shitload of patterns fast. i found that a slight nuisance whenever i worked with the new patterns. pattern modification is just lightning fast with the old blocks. "make unique" plays into that. there may be some shortcuts with the new patterns i haven't found yet. i leave a small window of possibility that i could find a way in the new pattern mode that's just as satisfying for me. i think the ideal solution is, let IL themselves provide an ongoing download for FL11 (it doesn't have to be front page ofc), and let em make sure that people can register it in 5 years. i respect that they're getting rid of legacy stuff and got their own plans, but the couple people who use the blocks for good reason would most likely appreciate it. FL11 with the reg edit is probably going to be a final version for some. less than 5%, but enough to give 'em an official download. not doing that would result in a couple people seeing no alternative but warezing FL11, sooner or later. i think the registry stuff would sooner or later result in authentification problems? i'm not sure. the DL should be maintained at either rate.

coming to think of it, the right click>add new plugin routine has always felt pretty awkward. it made no sense that you had to click on another unrelated plugin to load a new one. you get used to it quickly, but it never was an ideal design. same with the poor categorization options (nonexistent?). part of why i'm so anal about minimizing my vst number in FL is just the fact that i find long lists cumbersome to work with. a switch to folders has been overdue. the pattern blocks, i just like them better. idk, maybe skryp can elaborate. i'd have to work on actually making a list of arguments for WHY i like em better. it's not just laziness on my part, i think.

this is something that requires effort from the vst developers, apparently. i saw that question posed at gol ages ago. i think you're viewing it incorrectly, it's more like a trick that IL 'taught' their plugins to do, and others would have to do the same to theirs to make it all work. think about it, normally you just have this pitch value of 0-127. now you want your plugins to recalibrate the pitch based on note events. i don't think it's a simple fix on IL's side, or they would've indeed done it by now. ...or maybe they're lazy and are lying, i wouldn't notice because i know little about programming. but it makes some sense. i think the most effective thing for everyone would be if other HOST developers decided that it's a very cool feature, swallowed their pride and stole it, while turning it into some kind of standardized thing. bitwig atleast did something that allows you to pitchbend single notes independently, which is one of the advantages when you're using slide notes with different midi channels (the different note colors). if the vsti responds to the 16 midi channels, you can do 16 independently pitch-bent voices. in effect, you got like a very complex polyphonic glide function. i think it's just a thing where IL is ahead of its time. we need a standard for it.

and there's another simple conclusion: we are more used to effective audio silence than visual 'silence' (no input). final verdict: i think i'm being so anal about labels because neblix answers the question "why do you like audio". and it's a good answer on that - made me think. to differentiate again, neblix answered the music question as well, because audio and music partly overlap, of course. but his answer was much better if you take the audio. because in effect he's right, the audio pause is different. it's not in the audio spectrum. silence in music is a pretty deep topic. the pause is an essential means of musical expression. it doesn't really have a visual counterpart except no movement. stillness. so a still picture is a bit like a pause in the music. the scene is still present, but time stopped. we got some time to reflect on what has been said and on what may come. this occurs in movies naturally, of course. time to breathe in very reflective parts of the movie, if it has those. so there is a reason for separating audio and music sometimes. in music, a pause means information, in audio, a pause means lack of information. so once you go purely technical, you lose some information

reread my posts pls to elevate the way pause buttons are engineered to a core aspect of the art is a stretch. the fact that the pauses work differently has entirely different reasons. sorry, i like tangents. and the subject allows for many. for example, why is the visual pause not annoying at all? a visual glitch would be annoying, of course. quick repetition, worst with a drastic change in light. this is equivalent to a short piece of audio being repeated forever. so my analogy wasn't perfect either, because an audio pause equivalent to the standard video pause would be so short you could not hear it. so it would be effectively silence, but only to our ears. it would still be audio, just not audible to us. with colors we can perceive this extremely short loop. if it wasn't one, we would not see colors. or light. a complete visual pause would equal darkness, or more precisely, nothingness. i may be talking out of my ass as i'm not an expert on visuals. input welcome.

movie is audio+moving picture. video is just video. sorry for the semantic nitpicking, but it helps me think. see, i think you're confusing playback mechanisms, which could be changed rather easily, with core aspects of the art. that's why i went into this tangent in my 2nd post.

yup, it's a lot of case-by-case stuff. it just sounds like a case that's familiar to me, that's why i feel safe in expressing my thoughts. we're mainly trying to build a pool of several work related neuroses and then determine what fits best everyone's a doctor. lol DIFFERENTIAL DIAGNOSISSSSSSSSS

please reason why a threat is in order! i don't know this game. i'm not a round based buff but i make exceptions. LBP was the 'big' game in my starter package. i failed to download it for like 5 times. is the port good? or maybe i'm asking, is LBP good...cause i don't know. i just knew it's super AAA but that doesn't get me psyched by itself. it's a 3rd of my complete memory, anyway, and the service is kinda slow, over here atleast. as in, my internet isn't fast (1.2 MB/s DL), but i'm getting a fraction of that with the vita over wlan. the whole no-cartridge thing has been a lukewarm experience thanks to that, so far.

i had a gb micro before, so the GBA era wasn't entirely lost on me. no, specifically the dual monitor thing didn't really grab me. dunno why. if i found my old micro, i'd probly pick up some GBA games on the flea market.

works in 11, dude!

so if you wanted to make an audio playback device that parallels the dvd player or whatever, you would make a winamp with a little granular buffer thingy, and make it repeat a little sample right where it pauses. but we don't do that, right? cause it'd be a fucking nuisance. which leads to this sort of obvious and simple conclusion: audio overkill is much easier to achieve than visual overkill. i mean, we can stare into the sun, that's overkill. or we look at something sad and that drags us down, but then, that's not sensory but emotional overkill. i mean, isn't it weird how annoying audio can be? some midrange stuff can drive anyone insane over time, i'd wager. it's just interesting how sensitive we are to audio, and how it's much harder to 'overdose' on video. at the same rate, we talk about video as the dominant sense. seems a little contradictory.

i'm likely in that boat as well, see you there which is a shame as the GUI changes seem very neat. or wait, i could become a powa usa and bully them until they include the ancient blocks in FL12..... ZIRCON FIX PLZ KTHX

i think the last point applies most to you, honestly. i might be wrong though. having a picture of what you're going to compose...i don't think that's important for everyone. it simply works well for some. same with saving frantically. i did that for a while and then i discovered i'm spending too much time browsing through a million little bits and fretting over which ones i should delete. it can get too much. these days, i save whenever i got something that's atleast interesting, in some way. not finished or elaborate or anything, but somehow interesting. the main thing here is, i think, that you're stuck in a more craft related part of the work. remixing can be extremely creative, but there's this extra part of craft because you're aiming to work with something that's already there, and as such you gotta understand its components. i think branching off from a structure you didn't make yourself is harder sometimes. that's why i said i sometimes "put in all the right notes", and it ends up formulaic and boring. with remixes, getting the notes of the original right is the "from memory" part.

i'll probably be in trouble because with the grand redesign and everything, you likely won't be able to reactivate the old pattern blocks with a reg edit. i'm one of the few users who still prefers them. idk, i think the "new" patterns introduced a couple unnecessary clicks.

interesting thoughts, though one thing: movies and music are very similar. your argument that a paused frame is unlike a paused track because it can still be perceived...the paused frame still has colors that have a certain frequency. the colors are moving, in other words. else you wouldn't perceive them. the most interesting thing about all this is that everything can only be described by movement, i think. that's why there's this thing with likening music to the universe or the universe to music: it's all vibration.

i sort of liked the machine aesthetically, was an impulse buy. but you guys seem to agree that the exclusives aren't so hot. so i will have a look at PS+, i looked at it but couldn't imagine it being something cool so i passed. free surprise games now and then sounds neat. 3DS, ehhh, i'm just not a huge nintendo fan anymore. too few games grabbing my attention there, as well. i had a normal DS and never got into it. i can believe it's got a better lineup than sony though. to the vita owners, don't you think it's a neatly designed machine? it could be really good with some great games. apart from the fact that the firm software sucks. what a convoluted interface. edit: gravity rush looks interesting!

yeah this is important. i remember so many times where i was whistling tunes on my way home, and then i open the sequencer and it's gone. computer studio work can get stale. taking a break may be advisory.

write originals imo. you seem stuck in a loop because you can't let your originality flow into the things you start. i think i know the feeling, i get it when i write some basic 4 to the floor shit for shits. like, i put all the notes in the right place and then look at the pile of turd i created in 5 minutes. this is writing from memory. creative outlet requires another mode of thought. seriously, write originals. it's not gonna rid you of the problem (i just read you get it with originals too, like me), but it's easier. you know from the start that you're doing something new.

i only had a PS2, so PS1 titles that are absolute must play in your book are fine. but it has to be really really good. i get a bit lazy with older games that have shoddy handling and such. i'm specifically wondering if this is more of a retro handheld or if there is a lot of new shit that's worth considering. i mean, persona 4 is a port as well. i played some monster hunter on ipad, really liked the idea but found it too repetitive. watched a couple videos and the endgame seemed like soo much work, so i stopped way before. so i could give toukiden a try, but if it's just as much work as monster hunter then i'm not sure. i've kinda moved away from games that amount to todo lists. that's why if we're talking rpg, i'd rather play something unusual like persona, because i get a good story with the grind, at least. thanks for the suggestions, anyway!

hey, that's very cool and generous, and unusually "boutique" for your sampling studio. i'll be sure to check it out when i upgrade my kontakt in the summer. the pizzicato and staccato sounds great. i'm happy about any freebie of that kind, as i'm not really in the market for a comprehensive strings library. also, i think lightweight multisamples are a great niche. i wish for a bigger kontakt library with several acoustic sounds like that. you know, i like romplers like sampletank, but the new version was a bit of a disappointment sound wise. if someone came up with small collections of sounds like this one, maybe 5 or so, up to 200 MB per patch, and sold 'em in thematic packages for kontakt, i think i'd get those. there's just a gap between the do it all vanilla libraries and the super specialist libraries with a million keyswitches. you could use one sound as a free demo, as well. like you're doing now. then sell it with 4 additional sounds. sort of like shareware.

so i got this thing when i was preparing for a trip, and i haven't really used it. the games it came with more or less sucked. i won't get a lot of games for it anyway, but i'd like to know a few that are really worth it. i like platformers, rpgs, adventures, that sorta stuff. the one game i'll get is persona 4, heard too many good things about it. other than that, i got nothing.

generally the usual names dropped in threads like this one are sennheiser, beyerdynamic and AKG. i may be forgetting a brand or two but you get the drift. i liked 3 of 4 AKGs i've had so far, and sennheiser does pretty decent low cost headphones from my experience (haven't tried the studio ones). i never went much over a 100 euros with headphones, but i had this habit of breaking them so i got a few over the years. it seems the industry made another leap in the last couple years, both headphones and speakers. makes me happy that midrange stuff is so good. i got a couple of presonus monitor speakers for 170 euros, and i love them. plus headphones for <30 bucks that i'd use no problem if i had to.

great advice!

i've said it b4 somewhere, but: superlux headphones are amazing for the price. i got the HD681EVOs for under 30 euros, just to test if they live up to the praise on some forums. i can't comment too much on them, only tested them for a while, but they really didn't seem much worse than AKGs, which is sort of the point since superlux used to produce some parts for AKG or something. they cost a quarter. they're serviceable headphones for the studio. probably not great, but decent. i'm using some AKG headphones from my dad that he wasn't using, K301. they're not ideal for studio, but i'm kind of liking the sound of them (very spacious) and they're super comfy to wear. they work well for me, but i don't mix with headphones primarily. so if you wanna go pure headphones, it might be wise to spend a little extra. if it's a 50 50 thing for you, lower cost cans can be enough. there may be some coloring of the sound that you'll get used to, but really, there are amazing low cost headphones around these days. i think people tend to be a little conservative with brands and word of mouth.