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Damn Schrödinger's immigrants! They are lazy and they took your jerbs at the same time!
Every human being deserves a chance to live freely and securely. A truly free human being is those who have nothing to worry about. Not have to worry about death and suffering. Unfortunately, this world is full of those who suffer the worst possible. Whether it was war or not, we all fight our own battle everyday, and that war is what we face every moment. And many of us deserve to win that war no matter what. As long as we are still fighting, you are winning it.
And to win, they need our dearest helps.
Yukina (or also known as Justina) is an extremely talented musician and vocalist. Sadly unfortune always drop down on talented people. And this is why we must do our best to help those in need, so they can continue to give out their hearts to people.
She is suffering mental health, and struggle to get housing. Every immigrant's dream is to get help from the country they first arrived in. They should not be looked as a lesser human than you.
chronic gastritis, chronic pancreatitis, a tumour in thyroid, chronic stomach ulcer, chronic sinusitis , cardiac arrhythmia and depression. diagnosed with irritable bowel syndrome, borderline and attachment disorder.
You don't have to give a lot, but try to help out as best you could.
Thank you very much.
It's a known saying among my friends and family, that I am a counter-productive jock, who had some potential in many things, yet letting them all slip through my fingers' crack. And God-forbidden me to argue. They are correct. I have some sort of talents and skills in many many things, but I'm always a half-ass Master of None since I was born.
I had many opportunities in my life to be a great person. And they all slipped away. Not because I didn't have the chance, as I was easily accepted to the positions or projects. I just enjoy to go against the currents. I don't like fancy fame and toys. I dislike social interaction. Most of all I hate the consumerism and so-called productionism, or frankly called, capitalism of this world. There is a sole reason I refuse to make a cent out of my music.
Then I saw the mean of my music, could be used to deliver awareness, and reflection on whatever going in our world. Probably the world's first SJW, cultural-marxist, and commie in cinematic music. And frankly, I don't give a damn about who hated me or who loathed on me.
Being against the currents is an experience that no other joys could get you.
This post is about my experience to seek for the best orchestral library. This is just my small and relative opinion based on my experience of using different libraries, and different composer has different experience on them. Recent orchestra libraries are going toward sad state of trend that the loudest and baddest sounds would dominate everything. Whether they blast with max dynamic or huge room sound and not enough aesthetic in them.
I'll go from small size libraries to the large ones.
EWQL Symphonic Orchestra
Still the most popular one to this day. And EWQL SO ages very well. In Sorrow, I used EWQL SO for the string section. They have the most lust sound that other old library on the same age didn't have. A well balanced library with individual sections for string, brass, woodwind and percussion. The only downside is its roundrobin very limited. EWQL SO is ideal for small sized composition. Though there are exception, such as Gareth Coker soundtrack for Ori And The Blind Forest, where he successfully used EWQL SO for large composition.
Now-retired first Albion of the series from Spitfire. Not quite good, but Valiant is an okay example of Albion being nice for what it is. Unlike EWQL SO, Albion is section based, which mean there wouldn't be separated strings but instead you have a single patch or patches for string, brass, woordwind. And separate section for percussion. Albion is known for its mic position quality and room. My only problem with Albion is sometime it's too wet to mix with other libraries.
Project Sam Symphobia
Symphobia is one of the three core oldest libraries that kickstarted epic orchestra sampling, along with EWQL SO and Spitfire Albion. Built to be similar to EWQL SO with individual patches, Symphobia puts the sound and quality of both SO and Albion in its library. Immortal was mostly used Symphobia. First Symphobia is orchestra sections, while second of the series is effect and ensemble based.
Spitfire Albion Loegria
Spitfire's second series of Albion, called Loegria, mainly focused on high section of orchestra instruments. This track is probably cheesy as hell, but my cover on O Canada used Albion Loegria with percussion from True Strike. Is Loegria useful at all? Yes and no. Loegria is good if you plan to use it for adventurous music. However, most of the time I cannot find a place to fit this library into my music, with the exception of collabs with LSD. Problem is Loegria's dynamic is too light for any big epic orchestra.
Spitfire Albion Iceni
I must say Iceni was my most favorite orchestra library until Metropolis Ark I. Still one of my favorite. Iceni is the low registry section of Albion. Low, brutal and strong. Mecha Action is an example that Iceni shines very well. Iceni is perfect for big action and hybrid music. Listen to that brass cranked to max dynamic is just too epic.
Or once knew separately as CineBrass, CinePerc, CineStrings and CineWinds. Fantasiamaailma is a mixbag of everything, but CineSymphony was heavily used there, especially woodwinds, percussion and brass. Extensively massive and truly the most aesthetic library/libraries I have used. Sadly, my old machine couldn't handle more than 5 instances at the same time due to its resource consuming work.
Project Sam Lumina
For long time I thought Lumina is a weird library that I can't really fit anything into my stuff. If I wanted lusty woodwinds I already have the Symphobia libraries or CineSymphony for it. But then I composed Hope, and I needed hell lots of woodwind instruments. And no libraries that contain more woodwind legatos than Lumina. This library is also one of the most heavy resource. Took 5 separate projects to render a complete track for Hope due to Lumina being shitty. But hey! If Johan Johannsonn could use it in Theory of Everything, then I could to make this epic track!
I got this love/hate relationship with Minimal. On one hand it's a great library as a sketching tool. On the other hand, it's too complex to control it. Sometime too much because I turned lazy and just jam Minimal under. Castle Crashers is a great example of Minimal shines best as a background string. Or course, you can use Minimal for other but not ideally due to its bright and light arrangement and melody.
Spitfire Albion One
Spitfire scrapped Albion, so their new answer is Albion One, aka their direct competition to 8Dio Majestica, and Metropolis Ark I. What the heck with all these libraries doing massive orchestra?... Since I got the discount upgrade for owning the old Albion, I thought it would be nice to get Albion One. Is it as bad as people said? Not really. Their string and brass section very huge when you mix on all mic positions. Example in Rise of the Forgotten.
Orchestral Tools Metropolis Ark 1
The reason I decided to get Metropolis Ark I instead of 8Dio Majestica is because MA 1 just got that massive sound that other libraries don't have. Election of None as an example. And it has shown that big ensemble like Majestica doesn't mean big sound in MA 1. It is my most satisfied library.
The dude has been scrubbing around with his music and finally grinded out this album of his. He's the rising star of another hybrid master. Part of his album series Tears of the Machine.
Go and check it out. Support him cuz the guy is in some difficult in life.
Over a year ago, I decided that me poor sod had enough of Windows problems, so I migrated everything together to Debian and be done with it. Development, game, art and other productions were fine because there are always Linux alternative for them. Then I hit a brick wall. Music. Music is the final frontier of Linux that hasn't been fully explored. There are programs like Ardour and LMMS, but none really matching the production quality of Windows software such as Ableton or FL Studio. Renoise was a nice replacement, but not fully. Renoise isn't known for having stable VST support on Linux for some reason, so a few Windows-intended VSTs would be buggy on Linux version. This went on long time where I had to switch between Wine-powered FL 11 and Ardour because there weren't good replacement for the Windows versions. This all ended when Bitwig came out, thanks to @Lich who first introduced it to me.
Now, I wasn't the only lone runner in the desolated wasteland of experimenting with Linux and audio production. Another great gentleman on here who has much more experience than me, who has also been using Linux software for his work. @NeonSpider. I think he wrote a thread not long ago on Audio forum about different Linux distros and free programs (as in freedom) for people to use.
This little blog post is just my own opinions on the experiences I have had with Linux audio production for the last few years. The good, bad, and ugly. Listing them all out to see if I was insane or actually sane on switching to Linux for audio.
I wrote a little guide on choosing the Linux-compatible production software for audio a while ago. Unfortunately, the reason I hasn't been updating that blog post was because the suggested software were either Linux-only, or Windows-only. Though, I should add Audacity.
The GOOD of Audio Production on Linux:
- Totally free. You don't have to worry about the operating system, because every Linux distro is forever free. Which means you can save that money and use it to get a better audio production software or hardware.
- Lightweight. Distros like Linux Mint, Trisquel, Debian and CentOS are very light and their performance could save you a lot of resource, especially on low powered older hardware. I could run as many as 10 instances on Kontakt on Debian with Bitwig on a 8GB RAM without much hassle, and there are still some memory left to run other programs.
- Consistent production. Unlike Windows, where you must restart the whole system every time you install upgrades. There is no such thing across every latest Linux distro and their recent versions. Linux has a software update feature called rolling release. Every upgrade you made on either apt, rpm or pacman is constantly being maintained and supported. So you always have the latest working versions of the software and driver. You only need to restart the program you were using after the major upgrade, no need for full system restart. This means your urgency of constantly in production won't be cut off. There is a reason I could work on massive projects super fast (Reason to Live, Desolation of Life, The Handyman). I don't have to go through all the troubles of random forced system restart on Windows.
- Well maintained production software. Sure, maybe the software workflow itself isn't great. Ardour, Renoise, Qtractor, Sunvox... hell, even Audacity. But the projects being constantly maintained and rolling out extremely quick. So any bugs and problems would be fixed in a heartbeat. These are the power of Linux.
- Plug and Play features that ACTUALLY WORK! I'm serious. Microsoft have always been bragging about Windows' capability of PnP, but I believe that's bullshit. Every time you switch USB port for any device on Windows... eeerrr, installing driver... driver not found... yada yada. Every fucking time! Even on Win 10. There is no such bullshit on Linux. You plug the shit in. IT JUST WORKS. No driver bullshit. Linux distro like Debian and CentOS even supported older hardware than Windows and OSX abandoned.
The BAD of Audio Production on Linux:
- DEPENDENCIES! Maybe this is not the case on Mint, Ubuntu and CentOS, but this is very much a problem on Debian and Fedora (recently my friend bricked his PC). Shit breaks when things don't fit. That's my motto as a Debian user for a long time. You can literally brick your newly bought PC if something went wrong. Of course you could reinstall it...
- ALSA vs PulseAudio vs JACK vs OSS... Welcome to the zoo of Linux audio production. Where you can find a bazillion of audio interfaces and blow your brain out from confusion. Debian uses PulseAudio, while Bitwig, Renoise and the rest are ALSA-based. You must kill Pulse-fucking-Audio if you want to use the audio software.
- VST support. Pretty much shitty as fuck. There are VST that weren't intended to work on Linux, but if you wen through all the troubles you can get it work with little bugs, like Kontakt and Reaktor. Unfortunately, shitty bugs gonna get you in the end.
- Wine. Wine is evil! Especially when it crashes...
The UGLY of Audio Production on Linux:
- Fuck the iLok based software. Like EWQL shit. You have iLok and you run Linux? Fucking done! The reason I got Hollywood Strings work kinda ok on Linux is because I wrote a little emulator, which I hate due to lawyers almost fucked me up in the past. iLok is the world's most terrible hardware DRM ever made, totally beats Cubase eLicenser. The worst dongle ever. I would love to brag about how I broke its protection, but this is another blog post.
- When PnP can't save you and your vender has no driver for Linux version... you're royally dun goofed.
- You wanna install this dependencies but removed the wrong dependencies. Bam. System bricked.
- Learning curve, man. It takes years to learn how to use Linux properly.
With so many problems and bullshit, why am I still using Linux? The reason is all Linux nerds say: I support free & open-source software. I believe Linux could open a new future for totally free music production platform for everyone. If you noticed in all productions, music or art, the frontrunning alternatives to paid software are always being first as Linux-based programs. From Audacity to LMMS. Blender and GIMP. LibreOffice and VLC. Many more... We change the world without even knowing in. FOSS have been doing well for art, movie and game development. I hope this will expand to music.
Bonus, Knife Party runs Linux for the production. Fuck yeah baby.
You heard trailer music probably many times on movie and game trailer. What the mainstream call them, epic music. But did you know that NG have a good amount of trailer/hybrid composers that few people know about?
The previous post I made was to trash talk about hybrid and trailer stuff. This post is going to feature all the hybrid and cinematic composer of NG! And I've been eager to make a frontpage post, without shitposting element, so here's something useful for all!
@PeterSatera - the mystical racoon that everyone love
@Enzer0 - curse me for forgetting him
@DavidOrr - every mofo on NG definitely heard of him
@Edgen - X-ray Dog
@LunyAlex - i wish he get more fans :(
@ForgottenDawn - same for him D:
@Mattashi - explosive hybrid master
@Emid - he can cure you with anything he made
@xIIInon - wish he's back to NG...
@JacobCadmus - underrated composer
@BrCz - just discovered him, this guy is explosive
@TitanMusic - come back :(
@SteveSyz - his music is kinda interesting
@BrianSadler - wow
@Step - definitely wow
@Echo - so wow
Edit: Goddamn it I forgot Step, Echo and Enzo Satera.
Edit 2: Too much emdeds. FUCK.
HAVE FUN WITH THE MUSIC!
Each episode features music from the Audio Portal but it can take a lot of time to ask individual artists for permission to feature their music. Linking to your song in this thread means you give @Noodle permission to feature it on This Week on Newgrounds!
- It must be a song you uploaded in the past week, so it's relevant to "This week on Newgrounds"
- Your song can not contain unlicensed samples or be a remix or cover of an unlicensed song (think big studios).
- To link your song in this thread, simply paste the URL for your song on its own line in a reply.
It's your time to rise, guys and gals. :D Have fun!
Not because I hate the generic cinematic music. In fact, one day I would love to make shit sound big and generic. But I couldn't do it.
I couldn't write generic big trailer music. I don't know why. Every time I sit down and try to squeeze out something that sound like trailer hit, the project would always turn out to be the total opposite. Fun fact about Desolation of Life, originally I was forcing myself to write something like Daniel James hybrid music, this was the fucking track I tried to get reference from. Same for Reason to Live, originally tried to follow Thomas Bergersen's Reborn. But about 5 minutes in, my autopilot brain was like 'fuck those stuff' and 'go to experimental'. Probably too much coffee and ganja.
Many of the weird ideas were also spontaneously coming out. For example, Fallen Machines wasn't supposed to have those gritty sounds, and the distorded string solos. It was planned to the most generic action track ever. Yet I failed to make it generic. Half of the time I was like wtf is going on with me. And to this day, I don't ever know why. This has seemed to follow me since the beginning of the hobby. This also kinda explains why many of the tracks are out of structure, or have weird arrangement/melody/harmonic.
If you're looking for something similar to my style, you will rarely find them elsewhere. This is the first time I stop denying that I have a style, and that finally accept that I write unique music. Especially after many friends and followers said it.
I guess I'm just a simple-minded fella.
They may not be the scores that the mainstream love, but these film scores change the way we think about music.
Spotlight by Howard Shore.
The entire scores is revolving around only piano, light soaring string, guitar and harp. Yet the tracks themselves are very hauntingly beautiful.
Sneakers by James Horner. Every hacker's movie. RIP James Horner.
The Matrix by Don Davis. Everybody heard of the movie, but very little know the brilliant person behind the haunting soundtrack of the movie.
Sintel by Jan Morgenstern. He's one of the best indie film composer ever.
Cold Mountain by Gabriel Yared. The English Patient is his more well known score. But I think Yared's best is this movie.
Prisoners by Jóhann Jóhannsson. I wish he could get to be more recognized.
Vantage Point by Atli Örvarsson. For such a shitty movie, it has one of the most moving soundtrack.
The International by Muse. The brilliance of the score is the whole movie was consisted of a single motif with different variations playing through out the scenes. Also, FYI, this track was stolen by the late @paradoxphenomena (he called it Dream).
Crouching Tiger, Hidden Dragon by Tan Dun. I consider him to be one of the greatest minimal and comtemporary composer. The lead instrument is cello played by Yo Yo Ma to imitate the erhu. Two of my most favorite instruments ever.
Freedom Writers by Mark Isham. His score is very short since the movie features mostly hiphop soundtrack (which I love them). Mark Isham once again captured the beauty in here.
In the Mood for Love by Shigeru Umebayashi. He's one of the most underrated amazing composer out there.
Snowpiercer by Marco Beltrami. Every anarchist's favorite movie.
The Kite Runner by Alberto Iglesias. Beautiful work with emotional melodies.
Children of Men by John Tavener. Breathtaking movie with breathtaking soundtrack.
Slumdog Millionare by A. R. Rahman. Great blend between modern Western and traditional Indian music.
The Crow by Graeme Revell. Such underrated movie.
In the Heart Of The Sea by Roque Baños. Phenomena soundtrack for such underrated movie.
Contagion by Cliff Martinez. I guess I'm not the only AEON maniac.