Nase
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Posts posted by Nase
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haha, chill hobo. this is just for some random fun. maybe join in in a month, when we have a 10 minute contorted frankenstein music baby.
take care.
yeah soup, i think you just claim it if you feel inspired to add some shit. first come first served. we can make a rotation list down the road as soon as it gains some traction.
alternatives: everyone who wants to does his own short intro .flp, and then we decide on which one to start with together. or we even start with more than one and have several people working at once on different tracks. it's really down to you guys as well. different things could work, depending on everyone's spirits.
sorry for being flip-floppy and not very official about this, heh. but i'd rather keep this spontaneous and somewhat democratic than make it a set in stone competition thing.
i am already a little annoyed by what i did yesterday...hardly a surprise there. but the simplest way to go about this, i suppose is, to say fuck it and throw nothing away and just get going.
edit: so in case anyone just wants to start with my blorgx.flp, just know that i won't feel offended if you change parts of it. do whatever you like. hell, write an intro for it if you want.
- HoboKa, Wassup Thunder and Souperion
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ok, so in the spirit of not overthinking things....
i just made this thing.
it's under 10% cpu for me, so that's a good start atleast.
the FL version is 20.9 [build 2748], 64 bit.
i have no clue if this is a good place to start. tell me!
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i had this dream tonight where i met jay and mike from the YT channel redlettermedia in a snowy town.
we made some really bad looking food together and also started on this FL collab idea. i had given them a mediocre 1 minute synth electro track, and they added like 8 bars to it. they did some tiny chiptuney flourishes and used a crappy bassline of mine that i hadn't used, but had left in the project file.
yeah....maybe a sign to get this going, huh? i'll just take inspiration from the dream as far as not trying to do anything flashy or impressive right away. i am very rusty too.
hobo: legacy in software terms kinda means abandoned or not supported anymore, so not really. it looks like we're doing producer edition.
3xosc, FPC, GMS, Drumpad, Sytrus, Harmless. To me those are the most relevant ones. maybe this newer "FLEX" thing is usable too, haven't tried it yet. plus all the samples that are in the "Packs" folder.
since the soundfont player is now 64 bit, we could potentially pick one decent GM soundbank .sf2 that everyone can use. that in itself is pretty powerful with good fx.
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it's a bit like rammstein's "du hast".
mixed terribly. maybe some potential seeps thru,
anyhow.
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all analogue? certainly competent.
my crititque: it kind of climaxes at 30 seconds onwards. that's why i'd call it "competent", but i think you could do more to put your own stamp on it.
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6 hours ago, brink-of-time said:
I like this idea alot. I used to do this years ago with SectionZ.com was still around. I like the basis of the rules so far.
But I wouldnt go with base FL, but at least the Producer Edition (or Full Plugins Edition) if we can. It has alot more to play with so we more wiggle room for creativity.
we'll just see how many people have just "Fruity" Edition. i personally think using just the basic shit is especially fun, but if everyone has Producer, no reason not to include it.
CPU usage is also kind of important. the Producer plugins are all older i think, so that wouldn't be a problem. but still, if you just want to make a basic sinewave lead, for example, no reason not to do it in 3xOsc.
in other words: if you make the CPU meter jump from 10 to 30% with one single added section, and that translates to 99% for the next guy, then not good
- Souperion and Wassup Thunder
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cool! compo tennis, eh? serviceable name
it'd stay a pretty small file if we only use stock stuff, so probably just here.
when you did something like this before, did you apply any specific rules? the only thing i remember we said back then was, you generally write a new section and leave what's come before as is, unless you get a really good idea about making the whole thing better by changing sections by other participants. idk, more like a soft rule. it could also be a stricter rule at the beginning, for the sake of generating ideas, and later on in the process it becomes more about tying it all together cohesively, by retouching, remixing and mastering different parts.
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so, over 15 years ago (wow!), we did a random open collab tune in Fruity Loops, passing around an .flp file, each participant adding something to the track consecutively. It was very chaotic, and a lot of fun while it lasted.
So what i'm asking is, who on here is using FLS, and would you be interested in playing around with this format. The idea is that skill and experience level totally doesn't matter - i was almost a complete noob back then, a few more experienced people joined in, and it was just great. the tune that developed was a weird kind of trashy frankenstein megamix, but that's totally ok if you ask me.
I got nothing to do, and would be totally down with doing something like this. I dunno if the active userbase on here is sufficient, but idk where else to post it, so why not just try.
It'd be done with only the basic included synths and stock sounds, needless to say. totally barebone FL.
anyone wanna have some fun?
RULES: so, it crystallized that we are using everything included in the Producer Edition, because apparently everyone has that.
- add #1: to duly honor the newfangled FL soundfont player 64 bit, the use of the Chaos SoUndfOnt is hereby now authorized.
- https://github.com/surikov/webaudiofontdata/blob/master/sf2/Chaos.sf2
Current Version:
20.9.0.2748 Current Contributor: Audiomancer (deadline: march 2nd)
Waiting List: none.
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i know, man. i just switched back from 32 to 64 bit. guess why.
i love some of the old sounds only available in sf2, but the REAL reason i'm going through all the hassle is the slide notes in FL. they're too integral to my musicking.
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15 hours ago, DarkeSword said:
Here's an old soundfont I've used in a lot of my older stuff called Drum Set Industrial.
http://soundfonts.darkesword.com/fonts/drums_industrial.sfpack
It's an sfpack; use this tool to uncompress it. I apologize for the weird, esoteric compression method; I'll get around to rehosting all of those soundfonts on my soundfont site as SF2s eventually.
talk about a classic! one of my starter soundfonts in 2004.
your little soundfont page was a beautiful thing back then.
btw, i think i even used the saxophone you had in the last mix uploaded on here. yeah, Tenor Saxophone.
i still love soundfonts, man.
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On 12/22/2021 at 4:10 PM, Devsman said:
It kinda hit me just now, it may not be a bad idea to wait until I have a car problem and then ask my mechanic when I drop it off if I can record some sounds.
or just record stuff from your kitchen. blender, clanging pots together, etc. maybe you have a drill at home...with additional processing, you can get many sounds out of simple stuff like that.
it's pretty rewarding; feels like you own the track more in the end.
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yeah, it's just a special story with "turtle wave" and me. i really happen to like its mixing. i don't think you could accuse the original mix of carrying too much "mud", anyhow.
i can see why you'd want to slightly decrease some mid/high frequency content and give the mix more "body", but i think you went overboard a little.
the EQ of the lead at 1:20 is just moving it too much into the background, for example... haha. sorry. it changes the mix, it seems a conscious decision and it works, but i still like the original better
it's a typical thing for good old amateur music, like oldschool ocremix, to be a little hot on the higher mids and treble, but i think there's simply cases where this perfectly contributes to creating its own perfect sound.
a generally good example for what i mean (doesn't really apply to this mix) is chronically "too loud" hi-hats in amateur mixes - generally, it'd be better to tone those down a bit, but in some mixes it just feels right.
again, changing turtle wave in anyway is just criminal. my perspective.
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jeez folks, stop selling people new software and instead try to answer the question at hand.
does your midi keyboard have knobs transmitting midi cc? i can atleast rightclick on the "patch" selector field, select "link to controller" and then move a knob on my midi controller.
you can then browse through the patches with that knob; the trouble is, there's 256 patch slots in the software while midi sensivity is only 128. so you only get to select every other patch with that method.
well, it's better than nothing.
slightly related news, the next FL version will FINALLY get a 64 bit compatible soundfont player! not joking. how crazy is that.
Edit: it's out already. oops.
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cool!
have to say, wouldn't have changed a thing in turtle wave! i'm listening to the 2 different versions right now, and i'm not surprised that i like the old one better. that's because i always have marveled over how perfect that one sounded to my taste. you could say it shaped my taste too; i always think of "turtle wave" when i think of how plain good you can make music sound with a seemingly limited mixing platform like a tracker.
(that even includes the 2 super heavy kicks near the end that you apparently ironed out...always sounded like clipping audio, but i decided at some point that if this is clipping, it's clipping done to my taste. this is "soft clipping", right? or did you not use a limiter back then??? does old modplug have a limiter??)
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you really think it's minor key? i am sure this is technically major. but the minor parallel is surely strong in the song.
the 2nd part is very minor, including the bVI modulation.
it's a very major minor tune. i can easily see why that would make some people perceive more of a sad note....bittersweet is serviceable, i like the word "whimsical" but i don't know if native english speakers feel the same. it seems one of those very open words on the fringes of its meaning.
it's very definitely easier to feel whimsically, bittersweetly nostalgical about this tune than about the super mario bros. main theme, right?
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oh look it's trenthian! them old names gif me the fuzzy.
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funny. i'm mostly off the internet these times, and the only two series i have on my hard drive are twin peaks and stargate. i've become very familiar with this theme.
right off the bat, the bass just don't do it justice. i know the guttural feeling when i launch an episode of TP. it's not present here, it's just too clean. more bass boost and smudging with the string ensemble would have been needed.
the 4-5 minutes do just whizz by, so i think it does something right. but i just can't fullly conjure up that *waterfall* of emotions that's linked to TP, cuz the frequencies are too separated and drawn back.
i have to commend anyone who attempts to do a mashup of a video game and twin peaks in 2020, though. nice work man.
i just would've hoped your mastering would've done it justice. capture that analogue lower mid and bass range of 1990. i'm afraid this mix could be much more with a bit of appropriate mastering applied.
i played some lemmings somewhen in 92 - 93, but it was most certainly without a soundcard - so whatever brilliant parralels you drew between the OSTs is lost on me. i'll check it out at some point.
it's very definitely a nice mix, and the TP refernce is obvious, but i have to be insistent about getting the mixing/sound right on this one - it's just seems crucial when you do a tribute like this. so it's a slightly unfair/special piece to judge, to me. myself, with my lackluster mixing skills, i'd need a loooooong time to get a badalamenti-like sound that pleases me right. so i probably just wouldn't do it.
but still allow me to raise my criticism, cuz twin peaks to me is just sacrosant. can't help it.
how do you like the 3rd season?
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my laptop, hooked to an older but sufficient tv. If I’m not running games, it stays pretty cool.
note the little circular extension for coffee and beer, all but to lessen the spillage on gear. No craftsman here, but I managed to make that myself
the ashtray is of metal, and my grandad used to use it. On and off smoker nowadays, but I still enjoy smoking whenever it coincides with some musical productivity. Too rare, these days. Not the smoking, the musicking.
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You could have a more predetermined hard-set panning going on where each piano occupies like 70% of the stereo field left and right respectively, from lows to highs, or you could adjust the piano lines in a totally free form way in the stereo field, pretty much ignoring the idea of conventional microphone setups. If your arrangement is really defined by 2 pianos playing alongside, the idea of ignoring any conventional static setup of microphones seems like a real attraction to experiment and getting some unusual stereo sound out of the 2 pianos.
I’m really just saying that ignoring any kind of believable setup could maybe elevate your piece to something different, unheard-of, and you might end up liking it better that way. I haven’t mixed much natural piano in a long while, but I remember that whenever there were some implied rules like bass notes on the left and highs on the right, it could be fun to break those. If you can defy expectations in a meaningful way, just go for it...
it really all depends on what each piano is playing, and how they complement each other in the stereo field. You either write for a predetermined setting, and create a believable three dimensional tone, or you write for effect and free form, going freestyle with whatever free form panning you prefer at the moment.
whatever Piano vsti and sequencer you’re using, you don’t have to flat mono them, right? You can probably do a compromise Where one piano does 70% of the stereo field from the left and the second one does 70% from the right. Whatever vsti you’re using, you can probably adjust the degree of stereo separation from 1-88 per key. So you can yourself decide how mono you want each piano to sound like. This all depends on whatever instrument you’re using, and the way your sequencer and built-in mixer corresponds with it, I suppose.
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Man was in his mid late forties when he scored Keen, Doom, etc, right? It’s like, dude, Rock’n’Roll, am I right? They don’t make em like they used to.
stories, I mean. Nam vet approaching 50 making midi metal in the 90’s for some 20something nerds’ soon to be masterpiece.
it’s just so cool.
fuck the industry.
couldn’t watch the video though..
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In case you’re not perfect at transcribing tunes to midi already: I’ve always had the best results relying purely on ear, trying to transcribe parts of any given tune that I really fancied, but once I get something I like I just more or less roll with it.
It’s good exercise: rewarding on the one hand to nail a difficult part verbatim once in a while, but it’s also possible to turn a couple mistakes into a happy accident combo and get something derivative but highly original, if you’re lucky.there’s many many ways to tackle creative arranging, but this is probably the best short balanced advice I can think of for someone learning the ropes: don’t use midi, train your ear, but don’t aim for perfection unless you really want to, instead see if whatever mistakes you might make can be turned into a virtue.
it’s sort of a jazz staple, only not in real time. Poor man’s Jazz if ya will!
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if it's not happening in the headset....wonder if it's happening bc of your room. something may really be into resonating with that kick.
the flaw in that thinking is, the whole song shouldn't technically get a drop in loudness, it would more be drowned in a bassy resonant sound and thus maybe seem less loud in relation....the other part of the song.
not sure, man-
oh and maybe totally unrelated, i had, in one project, a boost in loudness of whatever mixer channel i had currently highlighted (clicked upon). this may be some routing/function i accidently activated and don't know about, or it was a bug? i haven't had absolutely free undisturbed time to totally delve into no.20, which now actually seems to be the best sequencer. to me. anyway. i lack experience with some of the bugs or features that are easily viewable as bugs when you dunno what the heck is going on.
one more old thing came to mind: sometimes audio bits can have content well below or above the general 20-20000 hearing range of us humans. this can seriously bring down the volume of what you can hear. don't ask me if it's because of some internal hidden limiter yet (maybe to prevent gear damage), or...whatever. point is, try EQing everything to zero below and above 20-20000 (or 30-18000, my EQ is not that mathematically exact, and as long as i don't hear any difference....) well, it's an idea.
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about 10 years ago, i read an article marveling over the infancy of our medium, highlighted by the fact that [pretty much almost absolutely] no one known for his work in the industry had yet died.
well, all things end, change.
rip! never played your game. certainly felt your vision and influence one way or the other. i can name those 2 ways, to be (b)anal about it: Dark Age of Camelot and World of Warcraft.
hope you had a great exp inside and outside of silcon alley!
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set up a post minimum for sigs (really don't care about the exact number), so make it an added feature for the survivors/persistant ones in case they want that, and hammer it into them that if the sig is too "OMG BUYLOOK @MYSHIT (it's a grey area discussion, right?) that they can get bans for that.
uh, set it at a 1000 posts. i mean the logistics of 'policing' that would probably be not humongous in effort, and maybe fun at parts cause the whole thing is a bit ridiculous.
the core problem/nuisance is understandable loud and clear. still, you can joke around with the grey grey gay areas of semi-somewhat-self-promotion.
ah yeah it needs its own judges panel for exactly that. i forgot.
Chaos Fruity Collab111!
in Competitions
Posted
bubble tea...that still a thing, huh? i used to drink that occasionally back whenever i'd get some sushi, but it definitely was more of a novelty item to me.
i encourage everyone remotely interested in the collab to just do 16 bars of randomness, or something. then share it. i'll look at it and try to add something. don't overthink it or aim for greatness. let's just turn out some crap to start with! (just keep the cpu somewhat moderate)