The majority of the time on my sav is from my leaving LSDJ open on my computer when I get interrupted from my making to go do something else, or listening to it over and over with my wireless headphones while doing chores and stuff, so it doesn't really mean anything.

I'm sure I won't have that luxury when I have to worry about batteries dying and stuff.

the battery drains at the same rate regardless of what you do with the cart, afaik

69 days later:::
Master: 21:11:47
Slave: 20:19:03

Getting battery paranoia.

lol, I don't know if that's what it actually looks like when you max it out, but it certainly should be!

First cart: 10:17:17
Second cart: 12:15:46

Poor first cart. I had it longer but it lost favor. #2 is my go to mobile one now. Keep in mind that 90% of the time, both carts are running because I use both at the same time for one song.

just because a medium's available parameters are different in their kind or degree of exposure doesn't mean the artist won't find some way to obsess over them, especially if it's necessary to achieve the exact sound they're looking for.

i'm quite certain lots of electronic artists and sound engineers will stab people because a reverb tail didn't clear out the way they wanted,  or because a particular point in their volume envelope is 50ms too late/early.  some will spend a month creating and programming a custom patch in Max/MSP from scratch to achieve a level of control over a sample or VST that their environment can't provide.

btw my LSDJ cart says 70:16:39 total and counting, but i'm pretty sure that value had rolled back to 0 at some point.  Anybody know the maximum work time that can be represented?

It was obviously a generalization, but in traditional composition the writer doesn't have precise control over individual vibrato on each individual violin, or the exact timing and degree of volume swells which will be replicated EVERY time the piece is played (of course you could play a piece on guitar and do bends and slides exactly as you like, but you can't plot it out and do it exactly the same every time). Even in other forms of electronic music (which play back the same every time) it is much more difficult to manipulate most VST plugins with a different envelope or vibrato on each and every note; or change the length of a legato slide on each note. I suppose I should say "Trackers" rather than chipmusic, but I do find that trackers give control that is mostly unprecedented elsewhere. I haven't written a thesis on this or anything so I'm open to discussion though, anyone want to contest that ^?

How'd that happen?  Does the X-Ray screw up the cart somehow?

In what way is it unique?

Yeah, I think that's the curse in the blessing of having such specific control over every nuance of every note; it's pretty much unique among chipmusic, and it allows us to be waaaaaay to much of perfectionists.

http://soundcloud.com/chips-challenge/scary-monsters

frustrated?

Who knows, after so many crashes/backups/etc. and since I been using it since 2000, I can guesstimate:

Me too.  I focus on every little detail.  It's a bit painful sometimes.  I wouldn't mind being a breezier composer...
 

I'm at 18 days and some odd hours on my current cart.  That actually feels a bit low, but I'm not sure what dictates how the counter works, and I don't remember how long it's been since the last wipe.