Nase

oh, you distorted a bass sound? uh....well, it just sounded like a wonky guitar sample with lower tuning, the way you used it. i know the shreddage guitar is good for the sound i thought you envisioned, that being, hard rock/metal guitar. but hey, just experiment. you can play riffs with a heavily distorted bass. you'll get better at programming and amping and mixing it.

cool jello bassline. sounds SoR enough, though i'm missing some of the grit that's typically associated with the streets of rage sound. well, you don't have to make it sound like a mega drive, but something in between would be nice. i'm liking the bubbly lead sound, while the detuned synths sound a bit cookie cutter whenever they get loud. not liking the filter settings there. thinking about it, i think the core quality of the SoR sound is it sounds 'warm', full, even when it's abrasive. that's lacking with some synths here. it's all a bit ravy with the sounds, when it could be more funky, housy, reduced, something. when only the bubbly lead synth plays with bass and basic drums, it's there. once the mix gets full, it's not that pleasant to listen to at loud volumes. it's partly a taste thing. i just don't dig some of those sound choices typically unless they're really expertly crafted.

great mellow mix(ing), with thumping bass. not the type of tune i get really enthusiastic over, but a great job, it sounds very pleasing and balanced despite the deep bass. what else? hm, i like the double claps. nice little accent. good voice, and i like the phonetics of your language. the reverb tail is a bit too enya for me, i guess. it sounds great if you prefer that...horses for courses. the ending isn't particularily inspired. it just works. it would be a nice folk tune to steer into a very light proggy direction as it goes on (i.e. longer, a longer intermediate part with sparser sections that builds to some sort of climax). there already is a solo, for one. sounds like you're finished and probably pleased with it, just providing some ideas. it could have some compositional twists in there that make it stand out more. it's a nice folk tune with great mixing the way it is.

woodworks is unassuming but nice once i got into it. when the drums kick in it gets quite good. cool segue b4 with the tubulars. i like the tubes. groove party is fun with the acoustic bass and minimal dance drums. could be more adventurous, with some soloing and stuff. tense encounter, soso. i've no problem with obviously fake guitar but i'm not a fan of this one and how it's used. some of the compositional elements are pretty good. i suggest a more center and punchy guitar sound, work on the patches' mixing and programming or pick another one to make teh chuggachugga sound energetic. woodwork is my fav. pleasant second listen.

there goes the dump. there's some good stuff in there, if you take the time. i'll worry about making it presentable another time. for now it's just a bunch of disjointed semi-finished toons. enjoy, if you can!

i'm currently finishing up a lot of stuff from last year, sometimes just with adhesive tape and the 'good enough' stamp. gotta start on new stuff sometime! anyway, here's something i just exported. enjoy

the rom hacks of SMW have a lot of original music in them. grand poo world, the like. i'm sure some of the devs would be enthusiastic enough to share their knowledge if you find the right forum. i remember years ago, i had the right software to change one sound in a SNES rom to a fart sound, or something...meaning: if i can do it, you can do basic stupid hacks. how hard is it to do entirely new midi data, loop points, samples etc? i don't know. best get to know the pros (the amateurs...)

if you like a blast from the 90's, this is good https://www.digitalsoundfactory.com/product/e-mu-proteus-pack/ they're really old sounds available in .sf2 format among others. you have to work with them, but there's a charm to them. i love 'em and the $99 isn't too much for the variety of sounds. it's nothing like more recent, larger soundfonts. you get a lot of minimally sampled sounds, some trashy and iffy, some good to great, some highly original. a fair amount of these old rompler sounds were also sampled in video games of the era, naturally.

oji is still a judge! respect

maybe the ohm value isn't all that objective, generally. the 80 ohm 770's i got are just really quiet. with my 3 cans, the loudness seems pretty linear in comparison, from 32 to 55 to 80. what you say about 250 vs. 63 ohms tells a different story! could be i just don't dig the sound of the 770's that much. at fully cranked up, it sounds barely loud enough but just not that good. pretty spacious but lacking power. maybe i just need a critical amount of volume to feel good about the sound, i don't know. i've noticed that i like many consumer level headphones if the sound is direct and not obviously distorted/relatively flat. i mixed 2 or 3 songs of last year on cheap sennheiser headphones and those sounded good on expensive monitors, as well. it's got to do with being lucky and the mix in question, for sure.

well, i found 2 really old long lost mixes of mine. thanks!

i wanna join man, but so many tunes and voices in ma head

having bought enough, i can do the direct comparison; i got beyerdynamic 770 at 80 ohms, and superlux at 32 ohms. meh. the superlux are good. they're definitely good to create any music. maybe they're to shallow, but this shit is prty good. main thing is, 20 euros is goood these days. it's still got a lot to do with loudness. the 80 ohm 770's just are a bit lacking on a standard interface like the focusrite i got. i had a lower ohm pair b4 but i cannot remember how they sounded. i got 3 pairs right now, the superlux @ 32, the akg 240 @ 55, the 770 @80...AND what to say... the superlux are good. they also don't cause ear hurt (purely ergonomical) like my old AKG's from a decade ago did....(after a 10 hour night shift) i say, good enough. but if you mix for absolute quiet-i-tude, approach those 4 digits.... i know nothing about them. i just know these 20$ cans are pretty damn good relatively speaking. superlux. good stufff. 20 fucking dollaras.gaussian bell winner

i'm using superlux hd 681 now. the 20 euro AKG competitor. partly because they have 32 ohms and my focusrite interface just isn't that loud in the headphone output. for someone who is able to/prefers to mix on speakers, they're really pretty good. if you don't know whether you need excellent headphones, just get those. you can still use them for your hifi...

bold and honest, i like it. secret of mana's OST is like mike oldfield's 'tubular bells' to me...unparalleled greatness and timelessness, never again achieved by the artist. not to say the other stuff was bad. his latest stuff on bandcamp is quite good: https://hirokikikuta.bandcamp.com/

https://en.wikipedia.org/wiki/Sampling_(signal_processing) just quoting this for the yellow graph on the right side, illustrating how short a loop cycle can be. many super nintendo sounds have a really simple single duty loop cycle somewhat like this, but an attack portion before that which makes up the characteristic part of the sound. the loop cycle then functions like an oscillator in a synth, controlled by an ADSR envelope to make it gradually fade away. if that loop is just off by a tiny degree, i.e. the wave doesn't line up, it begins to crackle, sound off-key. the more mathematical the waveform sampled is (sine, square), the easier it is to loop cleanly in a single cycle. the more complex the overtones of the instrument sampled are, the more likely it becomes that you cannot capture its essence in a single cycle loop, or a couple, or many. the perfect loop can be anything from a tiny fraction of a second to a couple seconds, really. it's a lot of trial and error, basically, before you find something musical with some waveforms. on the plus side, you get a little heureka! moment when you find a loop point in a classic waveform that sounds exactly as the original. this all applies to the playstation era as well, although they had a little more disk space to work with by then, and redbook audio capability if desired.

that's perfectly possible in the soundfont standard. multisample, LFO. the first real barrier of technology with .sf2 is round robin. what is this 'iffy quality' you're talking about? it's people not putting in the work to find the right loop points. .sf2 absolutely has everything needed to recreate SNES instruments, except the chorus/delay/reverb unit of the SNES soundchip. it's not a matter of technology, it's about the fucking right loop point. the relevant technology has staid the same for 30 years.

.sf2 just happens to have a couple of the best sampled sounds ever, among a much larger percentage of crap. 2 decades of hobbyist sampling, folks...you don't get that in any library. worth preserving. unlike more complex fonts, the snes ones are easy to recreate in another sampler, of course.

dood it really didn't work on both my machines. it produces an empty wrapper stating that fsp can't be loaded in 64 bit FL. are you really sure you're opening it in 64 bit, not clicking on the .flp and it goes 32bit for compliance? did you use 64 bit plugins in those projects? aren't they getting bridged? i'm finding it unlikely that you overlooked that, so i'm the more confused. i'd like to have fruity soundfont player to go back to for some old gems.

huh? https://forum.image-line.com/viewtopic.php?t=139225 are we living in parallel universes? if yours has a 64 bit fsfp, i'll gladly join yours...if there are no drawbacks and raining donuts, too. no seriously, i spent a particularily useless portion of early last year trimming my netbook to just contain 32 bit vsts, as i wanted to keep the sf player on there. i'm confused.

sadly, directwave is also pretty bad as far as sf2 import goes. it's way worse with complex multisamples than anything else, but with the typical snes soundfont, there's usually 2 problems: way too high pitch for everything (bitrate thing i guess, easy to fix), or loss of loop points for some instruments (harder to fix, obviously). but directwave is a good sampler. being an FL guy, i like the seamless integration. also good for creative sound design (built in fx, mod matrix), but i haven't done any exact looping of samples with it; can't vouch for it being easy to use for authentic 16bit music.

http://picopicose.com/software.html this thing is accurate, lots of work to get into, doesn't use soundfonts but the .spc file itself. that means you definitely get the data the composers used, not whatever the hobby musician did with samples ripped from the rom. if you can get jiggy with FL, the 32 bit version still supports the legacy soundfont player, and that one usually plays as intended (i.e. no/fewer wonky loop points resulting in the crackles you experience). naturally, .sf2 support just isn't getting any better. there's some .sf2 programming masterpieces around from the late 90's, but good luck finding a modern sampler to play them back correctly according to the old Creative standard. stuff like vintage dream waves 2.0.sf2, which while not based on VGs, has that same min/max spirit...provided the right playback, you can get hundreds of patches at less than a hundred KB, which is down to meticulous programming and using all of .sf2's inherent capabilities. but not to digress... the comprehensive answer is: get ahold of the .wav samples, be they encoded in an .sf2 or not, and learn more about looping samples, in any given sampler. the SNES did not have any capability to blend loop points. i'm assuming you don't know what that means. in a modern sampler like kontakt, you can relatively easily avoid said crackles by blending. what this means is you don't necessarily have to find the exact loop point in the sample, as used in the OST. you find something that is close enough and let more recent technology do the rest. it will sound close enough. if you want meticulous authenticity though, and no existing .sf2 sounds right, you might have to delve into the craft/art of looping samples the old way. you need a sampler that shows you how the waveform is looped, and allows you to exactly correct the loop. good if the sf you use plays mostly right in your sampler, better if you can correct any imperfections caused by faulty programming or import. may sound daunting...however, any work you put into this subject matter puts you into the shoes of those old composers a little. wrestling with crappy music technology and cartridge space, turning out the best music per byte. basically, basic knowledge about archaic sampling technology is essential to becoming a well versed '16-bit musician' all this is not necessary at all to make good music 'in the vein of', but it can be fun and a deepening experience! those loop points can be bitches, tho...... PS: if you're just using a basic software for soundfont playback and have never pondered how it works under the hood, this all might read like jibberjabber; it helps immensely to see a visual representation of how the sample is played and looped, which a basic soundfont player probably won't provide.

https://soundcloud.com/skoshu/rasta-in-space this is a simple feel good tune, made in a distinctly not feel good time last year. hope you like it! resonates for me, like a good entry in a diary. gave me some good times just musing and freestying over it.

one of those tunes never forgotten. this was formative years for me. this was released just about the time i started making music for real. about the incantations, the last two still sound as 'kumbaya', 'rastamon' to me. i think that's just awesome. i love how this shifts a couple notes and thus transforms it all into pop. it's all in the original, it just took a couple notes. talking theory, the minor/major seventh embellishment in the melody is incredible. it's the same in the original, but only in this tune it becomes something special. i haven't heard it elsewhere. whole thing is what remixing is about