Nase

do something of your own with it compositionally, man. i can only hear a midi file played by sounds.

tangent: all these FPS games with a late 90's retro aesthetic have been coming out for the last 5ish years. i think the game devs of that kinda niche would be really smart in drawing from the talents of demoscene style musos (like maze). with real tracker files used in the game and such. the unreal and deus ex music really was something. quite hifi and modern in a way, but still with a distinct tracker style signature. technology just moved too fast back then, and now could be the time to bring that style back in games. to mazedude: it'd be awesome if you found someone from that general 'retro' niche to work with. you probably wouldn't be the best for a standard deal like "something like unreal"...but some weird games were coming out back then. like "normality" (even though that's a kinda cheezy one). i think your style would be great for a lot of 'alternate reality genre benders' type games that could come out in the next years. maybe something 3D with a lot of narrative/RPG/adventure elements or something. like, i think the perfect games for a christopher getman score haven't even been done yet :D it'd be so cool if you did a bobby prince (as in: go pro late.)

Uplink OST is highly recommended. i think that is done by 100% demoscene musos. i always end up listening to that one all the way through whenever it shows up on my mp3 player. even though i never played the game.

i think it needs to be from a game. tunes from cracktros of much pirated games would be an interesting exception. in theory.

what a fucking song. i got to know it because i binged many an art bell show in the last 2 years. what a national treasure you had in him, man!!! RIP also look at the cover in HD, it's so cool.

i hope he's well. he hurt me pretty bad with some assumptions that were based on all this nu world thinkumajicks. idk where he's at now with world beliefs and i don't wanna manipulate him so i dunno what to say but i wanna practice free speech anyway. and btw i also annoyed him plenty while i was going through really crazy times. i was so terrible to him in 17-20. and then he kinda reciprocated it 1 or 2 years later. while being on a "i am all people" trip. i am also in cyborgland btw but i try to fight it, and i am recently winning. ate shit for years. i wanna bust this mess we're in as a species open. i feel i got it together now. i am not sam's bestest friend, in fact we're sooooooooo different, but underneath we communicated musically, and it was AWESOME. sam you're awesome fight for individuality, the dream that holds US (of A) upright.

this mix is amazing. i app never commented. sam was in cyborgland last time we talked. mabbe he be comin back yo. i would lov to gain a friend bak

This Is cool, didn't notice It B4. Mayb i can join in sept or oct. Wanna do some traveling B4. Hope It stays alive.

Right oooon. Fun Mix! Sounded great on JBL. Verry Juicy kix. My only crit Is, i would've enjoyed Something somewhat more climaxy near the end. Something special tò leave you with a "wow" when the tune ends.

It Sounds Like you wanna Stick to touch. If you are ready to Shell out Money for serious Sounds...Look at SWAM. At least for Brass and strings. It's no Samples but excellent physical modelling. Seriously that stuff Is good. Bit pricey For iOS tho. Completely Worth It. Garageband has AU support too, right. I have the trumpet and the cello. It works great in Touchland because you make the sound come alive With breath Controller automation etc. Recording an extra Midi CC via moving a slider in the AU Is Just easypeasy on a tablet, arguably easier than automating via mouse. I have No other AUs that really wowed me. But the SWAM stuf Is very Ez to recommend. I can give you the best soundfont player for iOS, and then you have to find good soundfonts.

I think GarageBand Is good. I made exactly 1 finished tune in 12 years of tablet usage though, since 2012. And i made It in 2012 lol. It was on beatmaker 2. I think for *some* reason very few people get excellent output on mobile sequencers. I must've spent $300 on iPad music soft since 2012. A huge pile of shame i try tò forget. Word of advice: treat Any music software purchase on mobile as If It was 10x as pricey. GarageBand Is pretty great. Very Limited But you can make incredible Symphonies, or synthetic progrock suites or whathaveyou. I am a 20 year FL user and FL mobile didn't wow me. I think Korg Gadget and Drambo are the best software around for mobile. But it's all theoretical as i haven't made Any damn music Worth speaking of With them! I think Key With mobile Is, you get One Seq and you run with It. Garageband Is quite good man. Just sayn :) Edit: Nanostudio 2 Is Amazing also. But, FL on PC Beats 'em all Ez. Tablet seq'ing Is iffy. Keyboard and mouse. Superior. So, Gadget, Drambo, Nanostudio 2. My recommendations. And GarageBand. Amazing soft. I Hate Tablets tbh :p But they were so magical in 2012.

I Like This one right away, and the pentatonic melody + the "restrained" jazzyness underneath feel Like ryuichi Sakamoto Is saying hi. He lived in your City. RIP ryu. Wonderful musician! Maybe you get an idea from good old Ryu. His Chords were Amazing. Just for inspirashion Dude :)

So, i'd honestly consider reviving PPR. Well, we can Post nagging PPR questions in GD for now i Guess. ... Can we? there's everything to Say today...more than ever. And reddit's short term mobile consumption structure Is so Bad For deep discussion. That's what a forum Like This was good For at its best. Maybe call It "forum americanum" or "Deep forum" or w/e... I mean, maybe interest for This grows again and then DS reconsiders. For now, it's too empty Here.

I Remembered This old Essay by squarepusher (excerpt): "As is commonly percieved, the relationship between a human operator and a machine is such that the machine is a tool, an instrument of the composers desires. Implicit in this, and generally unquestioned until recently, is the sovereignty of the composer. What is now becoming clear is that the composer is as much a tool as the tool itself, or even a tool for the machine to manifest its desires. I do not mean this in the sense that machines are in possesion of a mind capable of subtly directing human behaviour, but in the sense that the attributes of the machine are just as prominent an influence in the resulting artefact as the user is; through his work, a human operator brings as much about the machine to light as he does about himself. However, this is not to say that prior to electronic mechanisation, composers were free and unfettered in their creations. As a verbal langauge facilitates and constricts our thoughts, the musical tradition, language and the factors of its realisation(ie instrumentation, limits of physical ability) were just as active participants in the compositional process as the "composer" was. Idealists who believed such constraints were simply obstacles in the composer's way have laboured to relieve us of them, only to reveal that music is in fact contingent on the very existence of these restrictions, and was never a pre-eminent "form". The "modern" composer, robbed of his constraints, finds himself in a wasteland of desolate freedom. The inconsequentiality of new classical music serves to illustrate this point. However, for those who don't seek eternal freedom, help is at hand. Whatever may remain of the older constraints is of little consequence as music is now in the grip of a new restriction, the machine. The machine can be a respite from the meaninglessness of musical freedom. Yet the old tendency to try to unfetter ourselves surfaces: instead of a collaboration, the machine is put at our service. Some of us still flatter ourselves with a certain sort of delusion whereby it is solely our conscious, rational thinking that directs our creations, and is manifest in them. Trying to force a machine to manifest a conscious purpose brings about a stifling and deadening process that only in our time could pass for "creativity". It imposes that the didactic "collaboration" with a machine is a strictly one-way energy channel, from the user to the machine. In this situation, the machine cannot constitute a genuine "oppositional factor" in a dialectical equation as it offers not the antithesis of the conscious human will but rather the negation of it. When being forced to "purpose", all the machine seems to be capable of is resistance. It is not that the machine is a lifeless vacuum that continually absorbs inspiration and ideas from its user, but that the user hinders the collaboration by assuming he is the progenitor of these things in the first place. It is in this trick of perspective, from the humble "it happened" to the questionable "I made it happen" to the disastrous "I can make it happen" that lies the labarynth of paradoxes that is our "modern" world. The problematic relationship between humans and machines stems from the abject remnants of the modernist idea that we can control our fates, perfect ourselves and our surroundings, postpone or eventually eradicate death. (Anyone who is afraid of dying needs salvation, but not as they might say, from death, but in fact from life, and of course a retreat into dogma suits this purpose very well). This view holds that anything can ultimately be made a subject of our conscious will. However, bending something to our conscious will, whether that is a person, a machine, or a situation always manifests a compensatory and contradictory aspect. Something crops up which subverts our will. Yet it is never admitted that such subvertions are simply the corollary of our obsession with conscious direction of our surroundings and thus the idiocy continues. It is in this attitude of blind hectoring that the machine user-artist limits the possibility of transcendence. In this situation, it therefore makes little sense to the user to do anything with the machine other than to try to utterly dominate it, or risk being dictated to by a sterile lump of plastic. Unfortunately, working with any material in a violent and dictatorial way simply produces artefacts of human stupidity, not art. Inevitably, the violence commited by the artist returns to its source. This is why many artists have gone insane, died young, or commited suicide. Although they are viewed as heroic, they are simply the people who have most consistently sensed the fundamentally ambiguous nature of all action and died fundamentally not from suicide or illness, but from despair." Um...idk what This says about A.I. human Interaction precisely. But i think it's food for thought regarding creative man machine Interaction. ("Tools") Good creative man machine Interaction Is achieved by many many feedback loops between man and machine, During which "Happy accidents" pop up. You want those. This concerns synthesizers, Samplers, drum Machines, Mixers, even sequencers... If working With an A.I. in an evolved, mature way can give you similarily elevatory lucky Breaks after some amount of sweat....it's a great Sign. I think the sweat part Is pretty much crucial. "We Work all night to get lucky"

I Remembered This My Guitar teach's favorite. Rocks so hard. Edit: taucer's Pick with its "Double Down" (Album Title + Song Title) Made me Remember Joe Satriani from '95. So here's a 3+1 quadruple down for yall! :d