mysterystain
Offline
Melbourne, AU

So, after seeing godinpant's song made from just the noise channel, I decided to try my own.

Although I think I managed to make some cool sounds, it was mostly guesswork and recognising patterns in the parameters to get what I wanted. Is there any documentation that goes into the noise channel and how it works? I'm just so confused as to exactly what the hell is going on when I tap in random numbers into tables to make stuff happen.

Also, I would love to see more noise channel fuckery, if possible.

µB
Offline
A gray world of dread

If I remember correctly, the GB uses a LFSR type pseudo-noise generator. In that case the parameter would be the seed.
http://en.wikipedia.org/wiki/Linear_fee … t_register

I don't know the exact setup (where the XORs sit etc) though

mysterystain
Offline
Melbourne, AU
µB wrote:

If I remember correctly, the GB uses a LFSR type pseudo-noise generator. In that case the parameter would be the seed.
http://en.wikipedia.org/wiki/Linear_fee … t_register

I don't know the exact setup (where the XORs sit etc) though

Wow, that article is quite a mouthful. That's really not quite what I meant though. More leaning towards how does it work in regards to LSDJ and making certain sounds happen.

I'm not sure I'll ever be able to decode that wikipedia page. :I

herr_prof
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Unsubscribe

Noise has no pitch, luckily the noise channel has some pitch, so you can use pitch sweeps to approximate percussion out of it. Set the note to a high octave and fuck around with the sweep command. Use envelopes to taste. Once you get comfortable with that start fucking around.

an0va
Offline

Are we even sure that original track was done in LSDJ?

From what I understand, the earlier values of like around x0-x7 are the "tonal" mode (is this "Looped mode?") and x8-xF is standard filtered white noise. I've done psuedo-octave switching by starting with a note in the first dimension and then automating the first digit in the hex value.

godinpants
Offline
hardcore, Australia
lsdj manual wrote:

On the noise channel, S works like a shape filter. The first digit alters pitch,
the second digit alters the noise modulation. The command is relative, meaning that the pitch/noise modulation values will be added to the currently used values.

The track was done in LSDJ.

As far as how it works, I always find it works if you try and make single drum hits with your mouth (this is also helpful for pulse stuff too). Then slow it down while you do it and think about what you are doing to make that sound. You'll find that you're also filtering by opening and closing your mouth, but, think about how you are pitching the sound vocally. Also think about the envelope you are creating. Then play around and see how it sounds if you start pitching it differently - what happens if you just "sweep" it up? What if you increase the length of time you sweep up before going down again?
Then you can apply this knowledge to your noise channel instrumentation.

shitbird
Offline

In my musical adventures, I've found that Atari makes for the raddest noise jams (:

Chainsaw Police
Offline
Sydney, NSW
godinpants wrote:

I always find it works if you try and make single drum hits with your mouth (this is also helpful for pulse stuff too). Then slow it down while you do it and think about what you are doing to make that sound. You'll find that you're also filtering by opening and closing your mouth, but, think about how you are pitching the sound vocally. Also think about the envelope you are creating. Then play around and see how it sounds if you start pitching it differently - what happens if you just "sweep" it up? What if you increase the length of time you sweep up before going down again?
Then you can apply this knowledge to your noise channel instrumentation.

Woah, good idea! Never thought of it that way tongue

EvilWezil
Offline
Los Angeles, CA
godinpants wrote:
lsdj manual wrote:

On the noise channel, S works like a shape filter. The first digit alters pitch,
the second digit alters the noise modulation. The command is relative, meaning that the pitch/noise modulation values will be added to the currently used values.

The track was done in LSDJ.

As far as how it works, I always find it works if you try and make single drum hits with your mouth (this is also helpful for pulse stuff too). Then slow it down while you do it and think about what you are doing to make that sound. You'll find that you're also filtering by opening and closing your mouth, but, think about how you are pitching the sound vocally. Also think about the envelope you are creating. Then play around and see how it sounds if you start pitching it differently - what happens if you just "sweep" it up? What if you increase the length of time you sweep up before going down again?
Then you can apply this knowledge to your noise channel instrumentation.


YES!!! This. Absolutely. He speaks truth!!! The mouth thing is the way to do it! Each drum hit is two or three different sounds really fast. I usually build a nice table that ends up being a lot of the big hits. For snares, I like to start with a mid-range LOUD (F!) really tonal noise for the impact, then switch it to a much quieter higher pitched white noise that fades off quickly for that nice beefy "K!-tshhh..."
Also, I usuall pan the hell out of snare hits and kicks. Use a table and try O:LR for the initial impact followed by O:-R, O:L-, O:LR... Do this fast enough, and it sounds like a delay and really helps them stand out in the mix.

martin_demsky
Offline
Bratislava, Slovakia

interesting! i've found also something else:
http://belogic.com/gba/channel4.shtml

i also like to use Shape command and various settings with various notes.

Last edited by martin_demsky (May 9, 2012 2:14 pm)

mysterystain
Offline
Melbourne, AU

You guys are great. Thanks for the advice everyone.

disassembler
Offline
herr_prof wrote:

Noise has no pitch, luckily the noise channel has some pitch, so you can use pitch sweeps to approximate percussion out of it. Set the note to a high octave and fuck around with the sweep command. Use envelopes to taste. Once you get comfortable with that start fucking around.

This.

squidtantrum
Offline
Portland, Oregon

White noise is the sound of all 20,000 frequencies playing all at once.

http://www.howstuffworks.com/question47.htm             <------------my source


According to belogic's link, the DMG doesn't work in quite the same way.... but similar. Instead of playing all freqs at once, it plays all possible bits in super-rapid succession.
A pulse uses two bits: on, and off. a wav uses 4 bits, each representing an approximation of an analog sample. Lets say that an E of the 4th octave is 1001 (I'm totally making those digits up for the sake of an ex.).
I guess you could say it uses that same logic that an arp does.

Stern Fucking Zeit
Offline
mainz, grmny.
an0va wrote:

Are we even sure that original track was done in LSDJ?

It was. Although there are some filters + it has a very odd EQ you usually wouldn't use, with very bassy adjustments.

Another thing for mysterystrain:
You should really learn how to use the table. Works wonders, not just on the noise channel.

squidtantrum
Offline
Portland, Oregon

I WOULD be interested to know exactly how to use the NOI channel though. Everytime I use it, it just feels like I'm flipping through random hex numbers until I find something that sounds good.

SHAPE:   FF
                ^^
                | |
                | |
                |  Envelope?
                |
                Speed?