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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

i'm a maggot now. subliminal verses 3 is so goo d.

or do that and be like everyone else. music is 1 rotted note as master squarepusher sez or was it 12 lol jk uguyz bla where am i even this is weird

i've always been much more concerned with stuff like a good stereo sound, because that part can't be fixed so easily on the users end. and when you fuck up the mix via overcompression, that can't be fixed so easily either. good sound on lackluster total volume, easy to fix by listener. and i don't think the loudness war is getting any worse. it's more of a radio thing, and some artists like to mimic that in their mixing. not that they'd have to. i notice that most (not all) of the artists i like don't terribly overdo it. as in, dynamics and loudness are balanced in a way that makes sense. metal bands are one notable exception. i'm mainly talking electronic producers, musician and engineer in one type of sorts. like, take pretty hardcore stuff like venetian snares. i think the mixing makes sense on most of his stuff. it's not over the top even though the music may be.

i wish they gave the earlier books some love instead. those were the good ones, if u ask me. after a while, it became this stupid weekly fighting and talking thing. fan fodder. i know, DBZ is funny and sometimes fun, even. but the first books, let's say until tournament 3 (and that's being generous)....they're the good stuff imo. i'd love a re-imagining of that. ok, new story is good, but i doubt it can match the greatness of early dragonball. dragon ball really is sort of like simpsons to me, coming to think of it. i wish they rebooted the simpsons too, and cleansed them of all things family guy. but that's another thread i guess.

holy fuck the riffs! yeah i'll give artillery a good listen. but seriously, good riffs. this goes right in on first time listen. so first stop artillery. i like to move slow with new music. voice seems alright, is this Dio style somehow? i only know Dio from Black Sabbath, but the vocal style sounds familiar. yeah, it's a little bit like a more screamy version of Dio. (btw, what a great album cover)

as far as opening solos go, this song by slayer has a special place in my heart. it is completely ridiculous. slayer is an interesting topic anyway, as i would call most of their solos "musical guitar shredding", and i'm not sure how many would agree. this example is more about a bonkers song structure, lol. i'm in a guitar mood. here's more childhood stuff of mine (parents' album stack) this probably isn't shredding anymore, but he's a damn impressive player anyhow.

HOLY FUCK i had a moment of sex confusion. 2 seconds of "ohh hot 80's girl"! embarassing i rewatched the intro, and yeah, there are a couple moments where blondie looks pretty feminine. like, actually convincingly feminine, for a couple frames. it's a fun tune, i don't mind this at all. i'm probably very tolerant about 80's, especially lighthearted stuff. the singing, idk, it's axl rose without skill, right? instrumental is cool! it sounds kind of like an impossibly good live improv to me. i also like the europe tune. solo is cool, but i like the whole tune lol. i loved final countdown as a kid too. i think i like europe. there you have it, lol. it's super nice 80's fluff.

neblix, i'm bored of this. this is also about support and being nice and all, not strictly market. i will not debate your lengthy sophistry. i made my points, you made yours. yours aren't alignable with my reality, sorry. i can't help but think that you need to keep talking in order to not lose. basically the same thing i see with u and timaeus all. the. fucking. time. no thanks. agree to disagree?

bass thread without squarepusher. rectify.

amazing tonal sensibilities. bit too clinical in execution for my taste, but still, great player.

no, i just heard the name b4! this was before youtube, so the most obscure things i heard were anthrax and children of bodom, maybe. not very obscure at all, in other words i'm quite surprised you know hollenthon at all, actually. i thoroughly recommend a full listen of this album, i think it's a brilliant one. no other hollenthon tunes i found on yt later grabbed me the same way. anyway, i'll check out artillery. right now i'm giving in flames a try, who i was indifferent about back then. they're decent. seems like they're one of the better things that came with this whole emo wave. i mean, this whole combination of heavy and soft thing that hit hard with SOAD and folks. in flames seem influenced by that a bit.

i'm just listening to this old favorite of mine, a kind of symphonic death metal album from 2001. it's by one austrian dude, mainly. i marvel over this. it's so epic, it's silly. it's the kind of music that doesn't take itself seriously by taking itself way too seriously. obviously, the lyrics are in this weird dictionary patchwork style that's all about making a chain of impressive sounding words, but i kinda like it here. and it has this anthemic quality all over it. really good melodies, and then some parts which are even sort of punk. like, really hard thrash metal parts that don't get overly technical but just kick ass. and it occurred to me that i don't really dig this genre in general, but there obviously must be more notable exceptions. i'm not talking strictly death metal, but more about the bulk of stuff i don't really know. i haven't followed metal closely in about 10 years, and i mostly listened to thrash metal back then. i think another thing is, i'm sort of picky about the timbre of singers. in this case, it just works for me for some reason. the growls sound more like some senile sage spouting nonsense. idk, it has a unique character to it when i compare it to the more standard growling in death metal and such. like, i wouldn't really like slayer if i didn't like araya's voice so much. i would like megadeth more if mustaine's voice wasn't so hit or miss to me. metallica is more about hetfield's voice than hammet's solos to me. and i love solos, don't get me wrong. i'm just noticing how important a good voice is to me. and that mostly means, a voice that sticks out. i can't really pinpoint a "genre" of singing i definitely prefer, but to be vague about it, i like "ballsy" voices more than "hair metal" voices. not that there aren't any ballsy hair metal voices. ew. little addition: the other growling band i listened to was opeth, but i mostly liked them for the non-growling parts

classy. i might end up putting the other guy in my sig. hmm....i like the little one eyed dude more than dopefish, but this dopefish pic works perfectly with the color scheme from number munchers. tough call..... i like the fact that both my mascots don't have a nose. i think i'll keep it.

platonist is a sort of unusual music alias. just for that alone it's pretty good. even though it was picked more or less arbitrarily Gario's story is super cute. perfect for this thread myself, the other name i use is skoshu, and that's really just a first and last name combo that sounded cool. a 6 letter word that sounds good, and most importantly pops up hardly any results when you google it (some russian stuff at most)? perfect. nase is effectively the opposite of it...naming yourself after a part of the human face makes you impossible to find on the web.

i wish i could find a mobile sequencer that has as much lasting appeal as FL for me. i've been looking for it since almost 10 years, on and off. 2006 i got nanoloop for the old GB, and that was a bit of a revelation because it was so simple and limited. a year later i got LSDJ, which is way more powerful but also way harder to operate. i made one song i liked on it, but soon got fed up with identifying lots of numbers on this tiny screen. when the ipad came, i thought all this would change a lot. didn't really for me though. i'm not even sure i like the touch paradigm for hardcore sequencing now. i've seen a lot of sequencers on ipad that look awesome, had awesome features, and still were kind of painful to operate. my advice in general is, look for something that's so simple that it doesn't compete with your desktop DAW on many levels. because if it does, it'll likely lose. look for stuff that doesn't try to cram PC functionality into a mobile device, but instead is about a satisfying experience on whatever thing it was created for. i don't know if this one is good, but it looks relatively focused and simple.

my older tracks, 2010 and earlier, were mostly too loud, or rather, shoddily maximized. i just didn't happen to know this. it sounded great on a few and not so good on many. i've gone over to pulling it back a good deal. this way, i don't have to learn to be a super good engineer. i'm just happy with boosting a mix until i feel cranking it up further would require several counter-measures that i don't really know about. works alright for me.

i really liked a couple images in there. especially my green dude. what game was he from? i want him BACK!!!! alternatively, i could take one of the green dudes from the old Keen games...hm. edit: yeah, that works.