square0ne wrote:
Necro-Bumped xD
i can actually kind of see why everyone wants you banned
you appear to have absolutely no idea what the hell you're doing in this forum
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Armidale NSW Australia :D
Aeros wrote:
square0ne wrote:Necro-Bumped xD
i can actually kind of see why everyone wants you banned
you appear to have absolutely no idea what the hell you're doing in this forum
Sorry Bro
My thoughts on why people make chiptune:
I think that a lot of people think that people make chiptune because of nostalgia and video games and stuff like that but i think otherwise personally i like the sound of the old consoles.
Last edited by square0ne (Apr 12, 2012 10:58 pm)
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Tulsa, OK
Limitations FORCE you to be more creative - not just in music. Do you think people who have escaped from prison were complete geniuses before they were "forced" to figure out a way to escape?
I truly believe that Nanoloop has made me more creative, or strengthened my creativity. You are forced to solve problems, problems like "I want something to sound that good, but LSDJ will not let me...", and the result is not what you set out to make; its something different, that you could not have thought of out of the blue.
Most any composition sounds great when performed by an orchestra, could be one note. But if someone has something that good - they do not need a mesmerizing melody.
"great idea v. great music" will be the constant struggle.
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Your all artist that use different tools now shut up and go make your art.
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AANABAY01
i wouldn't say many of these guys were artists o:3~
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Gosford, Australia
Zan-zan-zawa-butt wrote:
i wouldn't say many of these guys were artists o:3~
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México, DF.
The gameboy (or any other console) is just another instrument. I make music on it because I like the platform and I can express ideas and make music I can't (or I don't want to) perform with, for example, a rock band.
I don't think about limits, because every instrument has its owns, and I find consoles to be really powerful platforms.
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hater got to hate ... promote what you love instead of bashing what u dislike
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Los Angeles, CA
I 
limitation. No joke. It's what turned my mediocre music into something I actually bother to let other people hear.
I grew up on Modplug tracker. No channel restrictions. I would write a phrase, add another phrase on top of it, and keep adding and adding until it was so dense that to change the chord progression or direction of any piece of the song would have meant changing 20 channels of data and was just too difficult to bother. So my songs didn't go anywhere. Just a series of repetitive loops that phased in and out and bored the hell out of me. (I detest repetitive music passionately.)
When I forced myself into hardware limitations, I found my music actually going somewhere, changing and progressing instead of being a stagnant mush of electro tripe.
Of course, you can apply this same idea to writing music WITHOUT those limitations, but the channel limitations are GREAT practice.
The key, as I understand it, is writing the outline of the entire song from start to finish, and going back AFTER the song is fully conceived, THEN arranging it and adding instrumentation and harmony and density. Build the skeleton then add the meat and skin. If I get caught up in the arrangement before the composition is finished, then the arrangement becomes my focus, and the music tends to be more about things mixing in and out than about the song progressing/changing/being interesting.
So, yes. Working within the limitations of the hardware REALLY brought my music into focus.
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Fargo
Jake Allison wrote:
Do you think people who have escaped from prison were complete geniuses before they were "forced" to figure out a way to escape?
I can attest to this. I escaped from prison 3 years ago using only a DMG-01 and a copy of LSDJ. I had to draw myself some frickin' sharp sawtooth waves.
Do you think limitation is a reason you do chip?
-Kind of, I suppose. It is a fun challenge 
Like people have said before me, the limitations force you to be creative with your workflow. This thinking outside the box can help you in any kind of music.
Do you feel like the limitations of your chip music is any different to the limitations imposed by other platforms (they all have them)
-Yes, they are much greater than a lot of other methods used today, but the devices being created by the great engineers who are a part of this forum keep making the limitations less and less. The technology is there, now, to make chipmusic much easier. For instance, the 4 voices available on Gameboy can be expanded by using more Gameboys. A lot of the devices used are MIDI capable now. There are only limitations if you choose to use only one Gameboy or Cynthcart or something. You gotta respect people that make really good music this way. I like trying my hand at it as well as incorporating different things with chip.
Why do you want to work within these limitations? or, do you feel the limitations are an influence in your choice to work at all?
-I enjoy the limits of working with actual hardware as opposed to software because of the challenge, the authenticity, and because I enjoy analogue gear. I also enjoy syncing these pieces of gear together in a giant Frankenstein mess that would make the ghosts of old Sega/Nintendo commercials puke up jean jackets and multicolored "bits". I like the sound, and you don't see it everywhere. It takes some research an ingenuity to figure out how to use some of this stuff. It takes time and effort, and I like that in music.
What is it about the specific limitations imposed upon you have any effect on your output?
-Depends on how you think about it, I guess.
Does "confronting limitation" justify lesser quality as a "proof of concept"?
-Not really. I find that a lot of people either get it or don't. They either think it's awesome or they don't see the point. I don't know if there's any amount of proof that could change their minds if they're that closed-minded. For the people that get it but don't want the limitations, there are plenty of virtual instrument programs available. Ultimately though, the proof wouldn't be in the limitations. The proof of concept, for me, would be in the fact that, essentially, these chips are just old synthesizers. And to some "lesser quality" is more like attractive vintage sound. These synthesizers also happened to be used to make sounds familiar to a lot of gamers. This makes them appealing as well. Also, using handhelds to make music is extremely convenient and portable.
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Sweden
I'm not sure why it's called a limitation if it enhances your creativity. If you argue that they are technical limitations, it's still far beyond what any human mind can conceive (in a protracker song there are hundreds of thousands of bits of music data to change before you run out of original music). At best I'll just say that some of these tools have inspiring properties that are different but not in any way inferior to, say, Reason/Logic/Cubasetc. The bottleneck is still the composer. Computers are better than you.
Last edited by boomlinde (Apr 13, 2012 8:45 am)
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Tulsa, OK
EvilWezil wrote:
The key, as I understand it, is writing the outline of the entire song from start to finish, and going back AFTER the song is fully conceived, THEN arranging it and adding instrumentation and harmony and density. Build the skeleton then add the meat and skin. If I get caught up in the arrangement before the composition is finished, then the arrangement becomes my focus, and the music tends to be more about things mixing in and out than about the song progressing/changing/being interesting.
I almost do the opposite!
With Nanoloop for iPhone - with other programs it is different - It is more about loops. I make a cool loop (usually ends up being the climax), then I make a lot of layers behind that loop for variety. I jam with the loops, changing the sounds live - and get an idea of how the sounds best flow. Then I build the set track.
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Tulsa, OK
Zan-zan-zawa-butt wrote:
i wouldn't say many of these guys were artists o:3~
I would say the overwhelming majority of "these guys" are artists.
