Holy Bot

Bedroom music production, gaming and random shit


May 2015

We had to refurnish the apartment, now I live in this corner.


Gold Farming of Gamers

Here’s how to fool gamers, take their money that is.

It goes a bit like this: make a video game and market it as a standalone, complete game but sell it in parts.

Have the consumer pre-order the game to receive in-game gadgets, like two extra skins for the playable character or its weapons (but add nothing that change gameplay or the overall experience).

Go ahead, charge full price for a three-quarters of a game at best. It’s alright, just release the rest as DLCs.

If the game focuses on multiplayer mode, e.g. lots of first person shooters, then hold on to half of the maps and ration them out in four DLCs during the game’s lifecycle, together with some uncanny weapons that didn’t make it past alpha phase.

And if the game is story driven, then release two or three DLCs with a few hours worth of side-quest gameplay. You should have made these already at launch, but withhold from the original release.

Anyhow, the total sum of these DLCs can almost reach the price point of the game itself. Yeah, you’re getting double paid. If you want money in the bank, then sell a season pass so that players can gain access to all content to something you should call, “a great price”. And to appeal to these fanboys, promise that they will get it a week earlier than the suckers buying the DLCs piece by piece.

Then – if the game proves to be any successful after a year – release a Game of the Year edition. Include everything above and be nice, and run a time-limited promotional pricing campaign for a short while before charing full price again.

After that you can always make a remake of the game, on whatever future current generation of gaming platform is; be sure to save your high resolution textures for this. Or you may just re-release the game and add “10th Anniversary Edition”.

That’s how to earning money on video games. I’m sure there are plenty of other ways, but these are the most obvious and common.

Seq / Arp

Another post about the mighty MiniBrute. Here’s a tip how to hack the arpeggiator to act as the sequencer like on the newer SE model.

Just send the SysEx command: F0 00 20 6B 04 01 75 01 3E 01 F7  to your MiniBrute to enable the sequencer. And if you what the arp back, or if you have a SE version, then send F0 00 20 6B 04 01 46 01 3E 00 F7.

This information was published on one of the developer Yves Usson’s personal sites. You may also wanna visit for more information about how you can send SysEx et cetera.

Speaking of the MiniBrute. Right now I’m in the beginner’s phase, that is, messing around and making lots of noise, but not any songs. I experiment and come up with many sounds that are good enough, but there’s no saving patches on the MiniBrute. (I could take pictures of the knob settings, but I know I would never look at them.)

So it’s a different approach and workflow from what I’m used to, it’s more about improvising and jamming. Now I need to find a way to capture ideas and process them into compositions. I guess it has to do with some kind of multitracking. 

Anyway, it’s fun and I’ve hooked up the MiniBrute to my volcas (sample, bass and keys). The whole band is playing, I don’t even have to start any DAW.

P.S. About the image, well I had no printer at home, just my mad skillz.

Et tu, Brute?


So I finally got an Arturia MiniBrute Mk I today. (I actually got both the MiniBrute and the MicroBrute for what it’s worth, but I’ll return the latter to the store tomorrow.)

It wasn’t easy to decide which one to pick, the Micro, the Mini or any of the SEs. But I looked around, checked Gearslutz, reddit and other forums and came to the conclusion that the MiniBrute seems to be the best choice, at least for me. Perhaps the SE would fit better – because I’d rather have a sequencer than an arpeggiator, but when it all comes down, I need neither of them.

The Micro

While I prefer the size of the MicroBrute, I think the MiniBrute feels sturdier, more heavy duty. The keys are nice, but I don’t mind mini-keys, and I really don’t need another full-size keybed portion (I’m obviously not in the target group for this synth).

Other advantage the MicroBrute might have over the MiniBrute – besides the price – is the patch bay. Although you’re able to do most things on the MiniBrute with its extra encoders; except CV Out LFO and envelope and such, but I don’t have, and I’m not planning to get, any modular system.) Actually, I think the MiniBrute has more modulation options and flexibility than the MicroBrute.

Okay, the overtone control that allows pitch changing and that could be modulated via the mod matrix, would of course be nice. But I’m good with the sub oscillator of the MiniBrute – and it does cover another octave and offer both sinus and square wave.

The Mini

So the reasons to choose MiniBrute wasn’t the semi-weighted keyboard with aftertouch. No, what appealed to me were: separate ADSR envelopes for filter and amplification, an extra filter type (notch), white noise, three additional LFO waveforms, an extra LFO and maybe MIDI Out. I think these things make the MiniBrute a greater, and more versatile synth.

I chose a Brute synth from Arturia because I’ve heard that they have a distinctive voice and filter character, and this purchase was supposed to complement my other gear. Also, I wanted an analog synthesis that couldn’t be found anywhere digital roams.

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