drugs.
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herr_prof wrote:
I thought the OP was very interesting, lots of things I try to do in my own music but hearing it from someone else is always validating.
re: editor soundchip comments "Its a pretty poor carpenter that blames his tools".
You misunderstood what I meant. What I'm saying is, the decisions of the coder of the driver also partly influences the music written with it. Do you see? But when the coder IS the musician you have another layer into how the music is played back, beyond using the command set that is supplied in the editor.
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Playboy Man-Baby
Wizwars hit the nail on the head. Thread over.
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4mat wrote:
What I'm saying is, the decisions of the coder of the driver also partly influences the music written with it. Do you see? But when the coder IS the musician you have another layer into how the music is played back, beyond using the command set that is supplied in the editor.
I'm not entirely sure i see 
. I would think that software sufficiently developed would be flexible enough to be used however a musician wants, especially if the coder listens to feedback of its users. Any technical tricks of the driver are secondary to the musicality of the outputed works created from it. I know that electronic music subgenres are basically phases of generic sounds beaten until dead (arps, wubs, amen breaks etc), but as a music fan im still looking for the song before I'm looking for the tonality or production tricks of the driver.
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Madriz, Supain
This thread is useless if nobody mentions the lack of cowbell in a song
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Fargo
danimal cannon wrote:
4mat wrote:people all using the same hardware and editors isn't helping either
For me, that's kind of fun in a weird way. To see all the cool and different things people can do with the same toolset. I know too many hacks that think they need the latest piece if killer gear in order to be inspired, whether its guitars, pedals, synthesizers, or more drum pieces. The idea of taking something simple and taking it as far as it can go is attractive to me. Like a drummer playing the shit out of a 3 piece kit, rather than getting 11 rack toms, timbales, and 2 china cymbals
Or a drummer playing the shit out of things that aren't drums. Like pots, bottles, trash cans, anything you can hit. I love it when people make instruments out of everyday things just lying around or play their instrument in a way that is unusual.
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Finland
Wizwars wrote:
drugs.
Best advice in this thread. Sorta joking, sorta not. To make good music I think you have to listen shitloads of music, play couple of instruments and rest comes or doesnt come naturally.
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California
danimal cannon wrote:
To actually give a serious answer to an 'interesting' topic, chip music (leads in particular) can be very bland. A square wave hitting a note mathematically perfect with perfect timing sounds... mechanical and lifeless.
In order to counteract this people should really take time to program expressive techniques like bends, legato, attack, vibrato and other things. When you master these things, the extreme level of control on order of microseconds that chipmusic provides, allows this 'bland' instrument to be one of the most versatile and expressive instruments out there
It's not enough to just hit the right notes, it's HOW you play them too
This. When I'm writing melodic stuff in LSDJ I use the legato, pitch bend, and vibrato commands a lot a lot a lot on my melodes, and it really helps to make the music sound human.
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I love taking advantage of the unique capabilities of commands and the preciseness of trackers; oftentimes this encompasses me just adding in completely random commands to get some glitched up mess which happens to sound interesting if you add a bit of melody afterwards.
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Los Angeles, CA
For the record, I've never done drugs.
But I do think drugs, especially psychadelics, could be useful for allowing a person to be more experimental with their approach to making music, which could certainly result in something musically interesting.
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Chicago IL, USA
I second drugs, and I haven't even done any in like 2 years. My method has become, "if I was stoned, what would sound super awesome right now?"
I wouldn't recommend psychedelics when trying to write though. It's kind of hard to focus and when I have tried before (I was on acid) it was really irritating listening to the same thing over and over making a song, so I opted to just listen to Richard D James Album on a loop for 6 hours and analyze it really intensely, which I guess improved my way of making music.
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Philly, PA, USA
I'd just like to say something about the point about "humanizing" the chip sounds.
While I think adding to the interest of the sound can be helpful, and yes square just on and off is quite boring and i wouldn't recommend it, there is something to be said about working to the nature of the medium, which is innately digital. While it might not be everyone's goal, I think that part of what chipmusic needs to be successful is to work towards almost a perfect example of the medium, whatever that would be. And of course for different people what that means will be different.
Mostly I just wanted to say that maybe "humanizing" the sound isn't the best, or at least not the only way of making the sound more interesting and complex in the realm of chip music.