prophetik music

live recordings, in general, aren't what i'm talking about. recording your electric guitar into your system where you're using guitar rig to do the distortion at the same time, that's what i'm talking about. that's when latency matters. when you record just normal stuff, latency doesn't mean anything.

ugh, star ocean. after watching the first hour of cutscenes, i took the disc out and threw it across the room. it's still sitting there. this was a few months ago. honestly, how can a casting agency hire voice actors that are that bad? I'LL act for them, for half the cost, and i'll do just as bad of a job.

i've said this before and i'll say it again - unless you're recording live audio straight in that's being effected by your system during the recording process, or using old or high-end MIDI-based controllers for your music, sound cards are useless. they don't do anything that your in-system chip already doesn't do. they don't reduce your cpu load significantly, they don't offer a significant improvement to your audio unless you're a headphone guy, and they don't really assist in anything that you can't get by just making sure you get a decent motherboard to begin with. they're just smoke and mirrors, living off their rep from ten years ago (when they were actually needed), kind of like NICs. unless you want to allow for 5.1 and your internal chip doesn't have the outputs, or are recording midi data or software-effected audio, soundcards are not necessary for a computer.

i think tweek knows what he's talking about, meteo. considering that this is his job and all.

i was thinking more along the lines of synths like massive or blue, but i see what you mean. we could 'ok' synths for use, i guess, but your point is valid. again, i'm not really into compos as much. i might put together a project at some point based on this idea, but we'll see.

you could, of course, allow any synth as long as it's the only one you used. that's what i'd do, at least.

i'm really surprised your tv doesn't have that input.

hey, we got moved to official projects again! thanks, darke.

yep. gario suggested the idea to me, but i kind of went a different direction with our conversation. if you're interested, keep an eye around my threads posted in general some time in the next few months for something in this vein to pop up.

there's a template in fl to do it but i have no idea how to make it work.

if you're talking about putting it in the playlist, you could set your playlist snap to beat, and you'll be able to paint in that patterns exactly (well, to the beat) where you want them by overlapping the pattern blocks. at least, if you're asking what i think you're asking, that's how i'd do it.

whoa, didn't know that. thanks, man.

why don't you ask your dad?

this is just something interesting i noticed while perusing the memberlist a little while ago. as of right now, you're the youngest 'active' poster on these boards, robo. you graduated at 16 years of age? that's a real achievement. were you able to skip a year, or did you start early?

part of it is also that vin diesel has one of the lowest voices i've ever heard in acting.

anyone know how to do it? the project is in FL studio currently, but it's just audio files so i'd be happy to export and open in a different editor. i honestly have no idea how to achieve this, or how to even start.

ha, i remember that one. i laughed out loud when i saw that for the first time, simply because my friend's girlfriend at the time was named katie and i had written something along those lines to him on aim as a joke.

ah, it's so much fun. just wish they had a widescreen option - not to make the playing field larger, but to show some of the house and the street and all that. i don't like playing fullscreen games on my widescreen monitor.

this is all i'm saying about the subject. listen to the pulitzer prize winning composition in 1971, by mario davidovsky, and read the reviews on the work online. then tell me that it promotes classical music in a way that will make people want to listen to it instead of the newest punk band or something.

he used capitals, too!

i didn't get into moog for bach. i LOVE it used elsewhere. if you noticed, i said i like the minimoog (specifically, the D), not the original custom modular setup that carlos had built. different sounds. imo, bach sounds really nasty when you use a synth. been listening to too many piano recitals, i guess. my wife's a pianist, so it's tough for me to hear anything but piano playing those pieces. analoq, i'm not trying to complain or something. this thread isn't about which is better, or the huge history behind it. i wanted to know about people around here that are into this stuff. all that said, while the concept is as old as the hills and everyone and their brother has worked on a single-synth track at some point (hell, that's how synthesis started, isn't it?), i was more interested in people who frequent this site, and their stories about trying something to expand their horizens. i don't really care about stockhausen - i think his music is frustrating to listen to, and although his ideas were ahead of their time by the time he died he was a pariah in the musical community outside of his circle of friends, used as a joking example by music students to represent something utterly horrible to listen to. i'll say it again: most every 'classical' artist who uses synthesizers drives me insane, since their music only serves to drive people away from modern classicism rather than bring people in. don't say i'm not in touch, since most of my repertoire is based on that same style of music...and i hate it. now, back on topic. like i said, i'm more into the community and the stories that they've got. anything cool that you've experienced with fooling around with this style of composition? edit: what the fuck? this is a conversation that you came in and hijacked. just because you're some synth genius doesn't mean that i have to leave my own discussion.

sorry to be a hassle, but all those images and links in the first post are toast. dunno if you noticed. just take out the stars and you should be fine.

and with that, animal village is done. so, i know i mentioned this before, but i'll reiterate it. i wanted to combine animal village's simple theme with steve reich's "New York Counterpoint". i succeeded...on my third try, of course. the first time through, i recorded every part in a 4-hour marathon. if you know the piece at all, you know that the piece consists of a zillion tongued eighth notes at quarter = 184bpm. that's not super fast, really, but the intense repition (particularly on the bari, which is the hardest to tongue cleanly on) wore me out quickly. so the recording didn't really turn out good. at all. so much for that graduate saxophone degree i'm earning. this was attempt one. so i went through and tried to fix it in various ways - syncing it manually to a click in audacity, fixing pitch in melodyne (my tenor is an absolutely horrid piece of trash), etc. after two hours, i hit the play button. still didn't really sound good at all. it was better, but it was really nasty, and issues in the original recording - mostly the pitch shifts that happen naturally when crescendoing and decrescendoing - made it still pretty painful to listen to. plus, the nature of the piece is such that if you don't get every note exactly in the right place, it sounds bad. so it sounded pretty bad, because there wasn't much in the right spot. so i get to attempt three. i realize 'hey! the piece is in two major parts. the part that sounds terrible is comprised completely of machine-gun repeated notes. why don't i just sample myself?' with that, i picked out one eighth note for every note i had to play on each horn (ignoring the middle riff-based section, which was sounding pretty good at this point) and loaded these short bloops with the midi file i had created with finale (when i was arranging the original parts) into reason. eleven instances of NN-XT later, and i had a pretty decent-sounding arrangement of the A section and the repeated-note parts of the C section. i used audacity to fade these in and out, simulating the dynamics that i didn't have set up in reason, and i put these humanized files into FL. next, i 'sampled' my riffs by taking about 2.9 beats of sound from each 3-beat riff and just painting them into the FL playlist. these had turned out pretty good as a whole, and were very rhythmically accurate, so they fit into the main body of the work easily. i added some EQ and reverb, and the piece was finished. nine hours in all, but i think it really turned out well. i used far too much of "New York Counterpoint" to be able to ever submit this, but i still think it's one of my better arrangements/accomplishments. anyways, all that basically just means that we're now at 10/20 tracks of the original playlist, making this our halfway point. i really hope it doesn't take another three years to release, but it's still a big deal.