Nase

cheap bastard

Nice thread resurrection! Thanks a bunch Monobrow, DrumUltima, banana. Won't be my last 16-bit piece

Awesome! Wasn't it only a couple days ago that you only had 4 of 11 minutes of your piece done? I didn't know of your timebending abilities Seriously considering the $30 donation. Pretty amazing though how much money has been raised already. Rocken Sie weiter, mein Herr!

Doesn't read like a suggestion. The maker simply chose not to include any copy protection.

Not specifically, I was talking about the whole sound really. That's why I was wondering about your speakers. Because both the lacking and the overly prominent frequencies are consistent throughout the song.

You already know how to load VSTis don't you? After that, you load the soundfont and off you go.

Sound: Too shrieky. I did a bit of EQing on the mp3 out of boredom yesterday, and it sounded better to me with a decent boost at 200-500 Hz and a cut at 2kHz-5kHz (IIRC). The way it is now, the drums lack presence and the guitar riffs sound like a puddle of noise. It's hard to make out the notes at times. The EQ settings mentioned above definitely improved on that. Try giving the drums a lower mid boost as well. Out of interest, are you using cheap speakers? The sound makes for a slightly painful experience on decent ones. Talking about the arrangement, some sections are awesome. Good energy in general, loving the breaks. Good drum programming. The piece seems to lose focus during all the wankery though. The structure just feels a bit random at times, with one solo after another. I have absolutely nothing against soloing orgies, but some transitions could be better.

I sent you my demo via PM, hope you noticed.

Remember that tongue in cheek detector? It's a phonetic variant of 'special'. Try pronouncing it. Maybe picture a Troll Doctor from Warcraft saying it.

It's called a 'Reese Bass'. Google for tutorials. It's often used in a DnB context and sounds more aggressive there, but if you know the basic ingredients, I'm sure you can construct something like this too.

Is there a need for a 2nd Darkesword? You can find a style of your own that'll make you speciull.

Get a soundfont player VSTi like this one: http://www.kvraudio.com/forum/viewtopic.php?t=188856 Here's a good electric guitar soundfont: http://sound.thasauce.net/sf2/ultimate_guitar_kit_2.rar Nice for solos, but also ok for basic rhythm guitar. Check out the lower velocity levels at lower registers for palm muted strings. It's recorded via direct in, which means you have to use an amp simulator effect. Sampled guitars that are already amped by default have a much more static sound to them, so this is the way to go really. Try JMC900 from the bundle you can download here: http://www.simulanalog.org/ Example of what it can sound like: http://www.mediafire.com/download.php?oy2jolwwfuz Happy chugging If you're looking for cleaner rhythm sounds, I'm sure the sf can pull that off somewhat convincingly as well, with the right amp settings. Experiment!

Most excellent. Mean synths.

I think you'd mostly get stories that don't sound too impressive for an outsider, full of EVE-specific terminology and gameplay logic. I suppose it's something you really have to get into to understand its appeal. I didn't btw, but my friend who plays it religously by now convinced me that it's pretty much the deepest MMO around. That doesn't mean that I feel any need to get into it though

My first remix still resides in the PRC archives: http://doulifee.com/prc/PrcSong/prc12/PRC12_Nasenmann_-_Psymon.mp3 Fruity Loops anno 2004, used mostly soundfonts and still relied on midis a lot. I still like the intro, for what it's worth.

http://www.zombiebazookapatrol.com/ ?

I love trackers when they control a relatively simple set of parameters, like Famitracker or TFMaker. It seems weird and counter-intuitive to me though to use them with polyphonic and feature-rich VSTis. Was it really an easy switch for you, or was it more about geekdom to begin with? I'd enjoy a video of someone rocking out with Renoise+VSTs from scratch. After all, trackers are still the fastest sequencers by design, I'd just like to see how well their workflow fuses with modern virtual instruments.

Awesome, I just created an instant OLRemix by opening 5 of the links simultaneously. Highly recommended.

If you mainly want to record, Reaper is the better choice. For sequencing via mouse, FL is indeed the best thing I can think of. The one terrible thing though about FL is the lack of proper time signature changes during a song. If it weren't for that, I'd probably stick with FL forever and wouldn't be playing around with Reaper at the moment. Reaper isn't free, is it? You have to get a license after using it for a month even though the program will still work. If you treat it as free software, that's not that different from using warez.

Yeahh, this one is awesome. Last year I had totally forgotten about my mum's bday until the day before, and Paulstretch saved my ass. She's into ambient music, and I managed to make a nice gloomy ambient album with it by making a couple crappy happy hardcore loops and sending them through it. Took about an hour, lol.

Btw, ever recognised how the noise channel is swinging while the rest isn't? Shnabubula pointed that out to me.

Having a keyboard is nice, but if that isn't available: Play a note in the sequencer for a little while to establish that as the root note in your head. Using C will probably the easiest for starters because its octaves are easy to spot in the piano roll. Then, think of a melody you want to transcribe. Keep it simple at first. Try humming it in the key of C you established before. You'll have to find out what note the melody starts with, as it's not neccessarily C This is one of the crucial parts of understanding melody really, understanding the intervals of notes. Your song can be in C, the first chord might be C as well, but the first note of the melody could be G for example, which would be 7 semitones above the root, and you gotta develop a feeling for stuff like that. You can learn about intervals in music theory, but what's more important is that your ears learn what they sound like. It'd be a good exercise to play a root note in FL, then hum a random note, then try to find it in the piano roll. Then determine how many semitones are between the two notes. The longer you do this, the less trial and error you'll need to find it, until at some point you'll go 'right, this one is three semitones above the root!'. But all this takes time. If you keep doing this though (Doesn't have to be a separate exercise, you can do it while making a tune), you'll automatically gain some knowledge on scales as time goes by. You'll find out about the sound of different intervals and eventually combine those into different scales that evoke different feelings. Then there's rhythm...Try setting up a metronome or something to that effect, then hum the melody to it. Align the clicks of the metronome to the 4 beats per pattern, mentally. Then, again, try to reproduce what you hummed in the piano roll. Find out which notes sit right on one of the four beats, if there are 2 notes per beat somewhere(8ths), one note sitting right between 2 beats (offbeat), or maybe 3 notes evenly sharing one beat (triplets). Again, a matter of trial and error. This is all there is to transcribing melodies...it just takes time and some concentration.

I like MU.LAB. http://www.mutools.com/ It comes with its own synth + sampler. The free version has a limit of 6 tracks, but that should be enough to get your feet wet. The full version is 49 euros and gets rid of that limit, otherwise the free version is pretty much fully functional. It requires ASIO drivers, so you have to download ASIO4All.

You're Blitz Lunar! Sam in turn showed me some of your tracks too, I love em! You're a master of everchanging prog-infested chiptunery, man. Thanks for the kind words.

Yes, it's more a matter of finetuning the grade of compression, maybe automating it for a few sections. I'm a lazy bastard when it comes to production, the compressor is on the master channel It sounds great to me the way it is at times like 0:37, gives the clav that nice pulsing sound, it just gets a tad heavy sometimes when more instruments join in. Good idea. The ending is going to stay there for sure! When I said finale, I meant the 2:13-2:35 bit. I just want to flesh that part out better to not make the 2:35+ resolution seem premature. Great to hear you dig it Harmony, esp. considering that you seem to be about as much a SoM fanboy as i am. Gario: Thanks. I haven't submitted anything until recently. There's a Castlevania mix of mine waiting in the to be posted list, expect it around...Q4 2010? Lol.