Nase

if you want to get anywhere, you just have to accept that you will fail oh so many times more. failure, of course, is relative to the goals you've set for yourself and to how strictly you pursue those goals. myself, i've accepted that i just do a lot of shoddy work, technically speaking. i constantly end up missing the sound i've got going in my head by a mile. so many things end up being non-deliberate and accidental. that said, there are happy accidents. they can take your music to entirely new places, even when they start out sounding like shit. they still require quite some work, usually, to make them work. so yeah, no matter if you still want to picture something in your mind and bring it into existence with formidable accuracy, or if you're trying to work with all the "byproducts" and modify your goals dynamically as you see fit, it all boils down to a lot of work. if you want to get better you need to expand on your vocabulary, and you need to work on your delivery. we all have to do that. your vocabulary is expanded by: - taking existing concepts from others (or other things) and assimilating them. - experiments. your delivery improves as you get more experience working with said concepts and refine them. mixing skills also help of course. i for one am pretty sure that if you continue doing the one man bedroom studio thing and getting some enjoyment out of it, your mixing skills will improve naturally along the way. if you want to be good at it asap, take some courses or read the internet. making awesome music is a huge challenge. if you want it, deal with it. truth be told, i haven't really dealt with it seriously for quite a while. i hate my music sometimes, and i'm afraid of my own expectations. raw deal. however, i know i'll be coming back for more. there's quite nothing like the creative rush of ecstasy when the stuff is really pouring out. yup, it's downright orgasmic ^^

Freut mich! Trigun kenn ich nicht, aber jetzt muss ichs wohl mal ansehen(hören).

1-50 hours basically. the really quick ones (1-5 hours) rarely end up as my faves, but in the 10-50 hour field it's getting hard to distinguish. the 20+ hour tunes obviously have a lot of detail, but at the same time the replayed to death factor comes into the equation. the decision making process also tends to slow down rapidly at some point because i grow attached to what's already there after a while. 10 hour tunes are usually the most fun to make. that's probably my average time spent on a track as well.

true. they probably are afraid of electrifying their funny instruments. frankly, if they don't want to go with more loudness when it is clearly available in abundance, they might as well go back to their favorite century, whatever that is.

then again, jazz musicians (the good ones anyway) do more drugs than the average rock band, and that's pretty manly isn't it?

spinal tap are so awesomely consistant and consistantly awesome. they give me that warm and fuzzy feeling. unlike jazz.

yes, it sounds awesome. although i always end up making that same delayed rectangle LFO driven burbly octave arpeggio patch with it. i can't stop myself, it's THE most obvious thing to do! every sound needs it.

haha, the good ol american superhero comic. nothing against it, it's good to see the genre evolve and carry on, but seriously man, there's SO MUCH OTHER STUFF TO BE FOUND. i'm not even talking about manga or graphic novels shmovels specifically. if you really like comics, you owe it to yourself to check out more french comics. you probably know of Tintin and Asterix and all that old classic adventure crap, but trust me, it didn't stop there. as far as newer stuff goes, I can heartily recommend pretty much anything by Lewis Trondheim, Joann Sfar, and Christophe Blain. These guys have collabed a lot over the years but also have a lot of solo publications under their belt. Trondheim started the 'Dungeon' saga, which is sort of one giant Dungeons&Dragons meta-spoof; it's immensely funny yet immensely epic. basically, it explores the 'Dungeon Keeper' premise, except that the dungeon masters are actually pretty normal people who have to get acquainted with the logistics of maintaining a dungeon. the storyline spans over several centuries. Sfar in particular has a tendency to reinvent himself with every project he does. of all three artists he's probably the most experimental one; he still manages to construct very satisfying story arcs and all that. Blain seems more in touch with the classic adventure comic, but without all the annoying mannerisms of the Tintin era. check out 'Isaak the Pirate' if you can, it's an awesome read. Anyone ever heard of the Heavy Metal magazine? it's pretty shit nowadays, but in the 70's/80's it helped redefine what comics are and what they can be. Moebius (Jean Giraud) was at the heart of this development. no matter if you like his psychedelic and somewhat esoteric/new age-y style, it's hard to name a single individual that might have had a comparable influence on comic artists in the last couple decades. he actually was a driving force of inspiration for quite a few mangaka, which is worth noting because usually mangaka are inspired by...other mangaka. Anyway, he's still putting out stuff today, albeit at a slower rate. Richard Corben is another name that comes to mind, started out with classic american horror comics, lots of titties and gore and all that, then went on to publish longer stories in Heavy Metal. his style is so intense and unique, i simply can't get enough of it (the tits are nice too). It's possible that you've seen some of his work even when you've only read Marvel/DC your whole life. I remember him doing a pretty awesome Punisher episode, as well as a TMNT comic, among other things, lol. those were just a couple names, the list goes on and on. anyway, if you're perfectly happy with what the big traditional american comic publishers offer, then that's fine. just be aware that they're not known for taking risks and making their workforce happy. the american comic has been declared dead over and over, and while i doubt that that'll ever really happen, it's a testament to the problems the medium faces, by no means exclusively but especially in the USA. btw, if you want some meta literature on the long and arduous road of the evolution of comics as an artistic medium and all that, Scott McCloud's stuff is a pretty good read.

http://www.acousticsamples.net/index.php?main_page=product_info&cPath=2&products_id=23 don't own it, but the guy makes good libraries and the demos sound nice as always.

synth1 (boring). it doesn't do everything but my needs are simple enough most of the time. it does the job. if i want to delve deeper or just waste my time with endless twiddling i go for fabfilter twin or oatmeal, among others.

yeah it's a fucking dilemma. frankly, i don't get why every single host developer hasn't stolen the slide note feature from FL yet. also, every VSTi should support it. it's just that good.

yeah, i already feel bad about writing that by now, haha. it was an awkward statement to begin with and i kinda didn't grasp how inflammatory it was yesterday. i shouldn't have started with comparative pie charts to express my appreciation, i guess. that said, if i check out 10 songs on the site (wip boards or posted, no matter) and find one i really love, that still qualifies as 'plenty of' good music for me. let's try a different approach: your stuff was inspiring to listen to. that doesn't happen to me every time i listen to music. i is happy.

hey david, i don't really like 95% of all music that much. ocr music still compares favorably when it comes to my general quota of showing any interest at all. i'm not saying it's shit music, i say i don't care much for 90% of it. you're spot on with the soul-o-meter comment, it's entirely subjective bullshit, but it's bullshit i wanted to say. i just can't help it. i'm a grumpy man and i have to express how badly my synapses want to be tickled the right way and how a lot of stuff just doesn't do it for me, no matter how much excellent musicianship and production wizardry is involved. mind you, this isn't meant to be some stupid dualistic rant. there's some stuff on ocr that i love for both its production and composition. it's just that it's rare. because the really good stuff is rare. fact of life for me. i hope that helped putting my statement into perspective. it's touchy stuff i know. sorry for the deviation man.

fuck yeaaaa i know how disproportionate the effort/feedback relation can seem with music. never devalue your own opinion, but i can only ditto the praise for bob-omb. a sufficient amount of soul can override any production obstacles, and this has more of it than 90% of the stuff you hear around here. bonus points for the ms paint video. edit:listened to all tracks now, heaps of cool things in there. all too messy production does get in the way sometimes, but the concepts and structures are wonderful for the most part.

i like to listen to pretty much anything when i'm high and hope for an augmented effect. goa, stravinsky, slayer, AFX, you name it. yeah, i know that wasn't very helpful ^^

Nase likes this.

awesome! kinda sloppy playing at times, but that actually grew on me. very human piece. didnt hear the old version, bass seems in a good spot now. no real complaints about the mixing. i believe the judges will have a bit to say about medleyitis (transitions) and possibly mention some sloppier spots/loose rhythms (as i said, i personally like most of those). but i think you're on the safe side cause it's really fun to listen to (and seems like enough of an evolution from the originals, a very natural one at that) don't take my word for it tho..

guess i'm missing something? i don't hear anything that sounds like a tremolo. i'm hearing a few plucked notes that don't sound like they're coming from a guitar, but they might as well be one with fx on top...

the bowed nasal sounding chords? could be a classic mellotron string sound.

i doubt you'll find a good emulation of the wave channel in any of those plugins. the wave channel is kind of what makes the game boy sound. the 2 pulse waves and the noise channel are pretty much like in the NES (except you can hardpan them). the "pooBoy" demo at least doesn't really sound like a gameboy. too clean. sorry, but i think you'll have to go hardware if you want to make actual game boy music. for NES music, famitracker is definitely close enough, but i don't know of anything in pluginland that does justice to the game boy.

not sure if i want to use this, but damn isn't that ad fucking brilliant?

point me to the worst video of that kind please. i had a pretty good veggie routine going for a couple months, but the old habits have kicked back in. i really wouldn't mind being more disgusted by reformed meat and the likes.

never been gone around here. i ate one 15 years ago and had to throw up a bit later. didn't taste all that bad though...

sounds like lsdj really. but before that came along, hardly any composer bothered to do this crazy wave channel stuff (which has become kind of a standard by now). so yeah, this definitely was ahead of its time.

Wheeeeeee, Aleksi!! gotta check that one out. His recent stuff is so awesome.