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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.

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.

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.

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.

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.

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??)

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?

oh look it's trenthian! them old names gif me the fuzzy.

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?

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.

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.

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..

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!

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.

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!

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.

see if you can add a simple 4 to the floor beat in your mind (untz untz untz untz) to whatever you're hearing. it just takes some listening practice, and i can see why it's not so easy to figure out for you here, it's also the sounds and arrangement apart from the syncopated rhythms. everything is a bit blurry and eclectic. but if you can make it groove to an imaginary dance beat in your head, it's probably 4/4.

at the moment, 10 hours of frank zappa interviews.

hey mazedude, since you reacted to my post, i wanted to ask you something: have you ever put the original doom.wad into your tracker as a sound? because i remember doing this, and it produced a very distinctly pitched, a couple seconds long dark synth sound. i found this really astonishing and unlikely back then - and it should be reproducable. wanna try it?

can't believe i never commented on this piece. i might compile a double CD set sometime with essential OCR classics from my time. cyborg blobby would have a definite spot on there. hugely creative, an infectious sound palette used to great effect, resulting in impossible levels of catchy-NES. i remember this one exploding on my senses back then, and raising awareness of how neat this site really is.

in my book, mazedude just kind of came out of his egg and just was ready to rock by minute 1. this shit is timeless. i have nothing else to say about it i mean, maybe he's come a long way but i wouldn't be able to tell, judging from this. if he released this in 2010, i also woulda agreed to him having come a long way- it's quite crazy.

this is a grown up mix. it's perfect i think. gotta respect mazedude. defying time

and what a perfect pun to introduce said person...? nice coincidence, considering jake's overall (hi)story arc with OCR. wouldn't you say? also, pretty fucking groundbreaking in the medley department, for a tune from 2000. but well it's virt, what to expect. it's conceivable how to come up with this in 2000, but still, impressive!

it does not get more legit than a blitz lunar midi.

i just didn't know this. it's as good as the best streets of rage tracks. a really shining example of mega drive synthesis. great pick!