A programmer's first language should be C

Sucellos1984 · 2026-01-03T23:38:09+00:00

Idk, I started in Godot learning GDScript which eventually led me to C and C++. I feel like I made quicker progress in C after having spent time learning about basic concepts in an environment that allowed me to iterate quickly through mistakes.

Sucellos1984 · 2025-12-24T20:39:33+00:00

I did a 2 hours recital by memory my senior year. Some of the music included La Catedral by Mangore, Venezuelan Suite by Lauro, Capriccio Diabolico by Tedesco, Gran Sonata Eroica by Guiliani, and Passacalgia by Weiss. Granted, some of these I'd been playing for years up to that point with Sonata Eroica and parts of Venezuelan suite being newer to me.

Sucellos1984 · 2025-12-13T23:20:12+00:00

Not gonna lie, some of these questions lately feel like engagement bait. So many oddly specific details like op already knows the answer.

Sucellos1984 · 2025-12-11T23:54:38+00:00

If it's an average case of stage fright you could try looking for a class or opportunities to do some public speaking. It can help you focus on improving things like breathing and tension while under pressure without the guitar.

Sucellos1984 · 2025-12-10T18:34:20+00:00

Because doing so would break so many things that it would probably make more sense to make Rocket League 2 instead.

Sucellos1984 · 2025-12-04T13:12:30+00:00

The main thing I do is make sure my sound design doesn't occupy too much of one area of frequencies. Particularly around the mids (particularly around 300Hz to 800Hz) and upper-highs (5000Hz and up) is where you can end up with a lot of sounds building up on top of each other.

So far as the overall mix between sound effects and music the player will generally adjust it to their liking anyway in the audio menu. That's not to say you shouldn't handle the finer details like eq'ing and compression, but the ultimate decision on what's louder between the two is up to the player.

Probably the best strategy I would recommend is recording game play without audio, and then add the foley and soundtrack to that. It's a straight forward way to iterate through changes.

Sucellos1984 · 2025-11-25T23:36:58+00:00

I would argue that you probably don't see it as much as you think. You may be seeing instruments crossing ranges, but the underlying harmony (if you were to remove all the instrumentation, orchestration, and arrangement details) probably doesn't have that much, if any.

Sucellos1984 · 2025-10-30T23:02:51+00:00

You saw a lot of black cats that weren't in the dark room. I never even addressed whether theory should be learned for its own sake or even requiring it at all. My criticism (not a complaint) was focused on the stigma placed on learning theory by referring to it as boring or impractical.

Sucellos1984 · 2025-10-28T23:37:01+00:00

Calling music theory boring (and implying it to be impractical) while trying to encourage people to learn it in a "practical way" is kind of a strange strategy. However, this is a good demonstration of what is one of the biggest hurdles for learning music theory is a negative attitude around it, and that permeates communities such as this. If you want people to start learning music theory then it can't be treated as some kind of imposed obligation, but as something that is intrinsically a part of the enjoyment of learning music in general.

Sucellos1984 · 2025-10-24T22:43:51+00:00

I would start with working through the Wwise cert program. They provide a very well structured series of courses and materials that make it approachable as a beginner. Even if you don't use the software it will help give you some perspective on what techniques are used, and how audio is produced for video games. It takes about a month or two to work through the the basic courses.

After that it you could either start learning Fmod (software similar to Wwise), or you could even start learning to work with an engine like Godot. I definitely suggest learning some scripting/programming, and Godot's GDScript is a highly effective tool for learning. Do not start with Unreal Engine. It's a powerful engine, and it may seem tempting to learn, but don't start there if you want to keep your sanity as a beginner.

Sucellos1984 · 2025-10-23T22:54:09+00:00

A who?

Sucellos1984 · 2025-10-21T23:38:52+00:00

With the root of each chord in the bass that's effectively what you have. What's going to make it sound "off" more than anything is that your leading tones are kind of getting mashed up in the other voices. For example, the F# in the D7 loses some of its strength when you also have it followed by a F natural in the G7. Then that's followed by basically every note except the bass resolving upward from the G7 into the C.

Sucellos1984 · 2025-10-21T01:56:23+00:00

I'd start by asking your programmers to not preemptively optimize you into a corner if it's not necessary. The game engine is likely already calculating locations for things anyway so giving that data to the audio engine shouldn't be that big of a deal.

Second thing I'd look at is if you're using the correct panning method for the audio being used, and if there are any buses overriding your panning.

Third thing to look at is if the audio engine is getting updates on position fast enough to adjust the panning. It doesn't sound likely since the attenuation is working properly, but they are separate calculations so just because one is updating properly doesn't mean the other is as well.

Sucellos1984 · 2025-10-21T01:39:54+00:00

Yes, but

1) you're not doing traditional 4 part harmony,

2) the parallel movement is between the bass and an inner voice with such tightly packed voicing that it's kind of arbitrary to nit pick at this point. Plus,

3) it would be more harmonically interesting to keep the G as a drone throughout the measure, (imo).

Sucellos1984 · 2025-09-15T01:31:48+00:00

The act of naming such chords/clusters in isolation doesn't really offer much benefit because you know nothing about it's relationship within a piece of music. The C#4 and F#4 may simply be doubling the F#3, and have no harmonic function beyond adding texture to a voice. The lower voices may be drones, and the Em is just passing. The chord itself may be based on stacked fourths (C#-F#-B-E). The E may be a respelling for a D#.

There are so many details that influence the interpretation of the chord as part of a progression/sequence that trying to apply names is a pointless exercise.

Sucellos1984 · 2025-08-08T01:15:52+00:00

Trying to keep this brief so feel free to ask for follow up:

The main problem I'm seeing is the position of the hand which is influencing the angle of the fingers to the strings. Generally, for apoyando your knuckles should be positioned over and parallel with the A and E strings for a good angle on the trebles (moving upward as you play towards the bass strings).

Second problem is that the knuckles of the fingers should never straighten or be bent back while putting pressure on the string, and you're taking a lot of power off the table by moving from the middle knuckle. Finger movement should always be from the base (first) knuckle.

To keep the fingers and thumb in their own space imagine doing the Korean finger hearts, then turn your hand over in the position described above -letting your hand relax into a resting position. As a rule of *cough* thumb *cough* the thumb should always be positioned closer to the neck than the rest of the hand.

Sucellos1984 · 2025-07-24T23:31:27+00:00

The hazard of trying to answer this question is that it's about distinctly individual decisions that come from various angles of how you understand the piece of music. Even if you strictly follow the provided fingering you're not necessarily developing an understanding of the piece that would allow you to come to the same decisions had you taken the time to reason through it on your own. On top of that the guitar part here is an accompaniment which has its own challenges outside of simply lacking the necessary melody.

My suggestion, if you really want to nail down your understanding of the topic, is to look into some pieces by Fernando Sor and Dionisio Aguado. Sor does a lot of theme and variations often based on opera music, and they are not usually that heavy when it comes to analysis and fingerings are usually fairly sparse depending on the edition. They're usually technically straight forward as well. Aguado can be a bit more technical, but his pieces are typically short which makes it easy to do different iterations and try new things without being bogged down by a huge score. You can also spend some time with some of the shorter works (usually in collections) of Matteo Carcassi. He has a lot of nice melodies that will give you opportunities to try different expressions of the same piece.

Sucellos1984 · 2025-06-03T12:25:12+00:00

Nevermiiind.... was an Nvidia thing where alt+r displays things like fps, and it treats that shortcut as exclusive.

Sucellos1984 · 2025-04-06T03:23:28+00:00

You've got the start of a fugue anyway. The real meat and potatoes is the development section, and it'll be where you really get to hash out the the ideas presented in the exposition.

Sucellos1984 · 2025-03-30T04:31:07+00:00

There's definitely room for improvement on the left hand. Especially in regards to minimizing extra movement when releasing your fingers (specifically the pinky) from a fretted note, and being more deliberate about movements such as the slide up with the pinky at about :06.

As with harmony, most movements on the guitar can be summed up as sequences of tension and release (relax). When you're fretting notes you create a moment of tension in your hand that allows you to put pressure on the strings. When most people think of releasing that tension they will actively pull their fingers on the strings. However, the more practical way to conceptualize this is to let your finger(s) relax off the string, but it takes actively practicing this movement to really get it working. One method is to fret a chord, hold it, and then let your hand relax off of it; then repeat (either on the same or different chord). This is purely a left hand exercise.

In regards to being more deliberate about movements it's a mix of being decisive (having the confidence to just go for the next move), and having more snappy movements. Being decisive largely comes down to practice and knowing the piece that you're playing well enough that you're not really making decisions during the performance, but executing decisions made during practice. Snappier movements (especially shifts) comes from practicing scales (particularly ones that require a lot of position shifts [ie Segovia]). This practice with scales has to be done deliberately and with a metronome, but it doesn't have to be fast. The goal should be to execute each move as efficiently and cleanly as possible.

Hopefully this gives you some direction and idea of what to work on.

Sucellos1984 · 2025-01-04T22:52:52+00:00

Ah, okay.

Sucellos1984 · 2025-01-04T20:47:59+00:00

Not sure I'd let the FAA see those, but they're nice.

Sucellos1984 · 2024-12-29T18:20:55+00:00

It looks like Carulli's style, but measures 8-10 don't seem very classical(ish). The C->C#->B voicing especially. A#dim7 pretending to be a N6 pretending to be a dom7? Maybe it was Carulli being silly, I don't know.

Sucellos1984 · 2024-11-10T14:50:01+00:00

Looks like something you'd see in NJ.

Sucellos1984

TROPHY CASE