[ Closed ] I'm sick of Chipmusic because... (Page 7 of 11)

As someone who's covered tracks by Starscream, Nullsleep, Bit Shifter, Facundo, Touchboy, DaPantz, and Dissassembler, I'm going to have to take umbridge at the allegation of incestuous cocksucking. In many of these cases I was asked to do a remix or cover by the person who composed the original. And it was fun. So there.

As for being sick of chipmusic, I only listen to a few chip music artists these days because, just like music in general, I don't like most of it. And a lot of the stuff that's popular is stuff I'm not really interested in. As far as emotion in chip music goes, I think that there is the potential for a wide range of emotion but very few artists actually take advantage of that. Unfortunately, these days it seems to me that the most popular emotion is whatever feeling is conveyed through thudding hormonal heavy-kick aggressive dance music and the inexplicable desire to "melt people's faces." That stuff can be fun, and there are definitely people who make aggressive dance music that I like, but it can also wear thin pretty quickly.

The whole reason I started a band with live instruments (guitar, piano, and violin,) and vocals is because I knew it would give me a wider emotional range (lyrics are especially useful for this, and there are, sadly, very few lyrical chip music acts.) Basically I wanted to make something that didn't involve a table seperating me from the audience and had some of the unique power that live instruments can give.

There's loads of terrible music in the world, and I'm in favor of encouraging people to do unique and innovative things. Obviously, that kind of innovation doesn't automatically translate into success or acceptance, and the quickest way to get the unwashed masses to like you is to copy formulas that have worked in the past. Just like in the wider world of music, the things that become most popular are often the most immediately palatable or accessible and not the most ground-breaking.

To sum up: you people should wash more frequently and I've never given a blowjob, incestuous or otherwise.*

*and a spike in the instance of washing is, frankly, unlikely to change that.

Last edited by Natty (Mar 26, 2012 1:12 am)

Chairs are better. Big, comfy chairs.

God I hate you akira...

While to some it's a curious oddity to dip their feet in, I wholeheartedly disagree.

I've found chiptunes to have a surprising amount of depth despite limited capabilites, ESPECIALLY when working in medium (not fakebit).

Why is this?

Essentially the workaround we use to get the most out of our hardware (demoscene mentality) causes us to use extremely unique compostion ideas.  The monophonic nature tends to lend to "hypermelodicism" (a word I came up with) which are those breakneck monophonic melodies that you might hear in a Trey Frey song.  They're usually a mix of impossible bends, crazy vibratos, extreme panning, multi-octave arps, and peculiar note runs and rhythms all at a breakneck pace.  Why?  Because those are all things that the Gameboy or NES is GOOD at.  On a conventional instrument it would be STUPID to program these sorts of things.  Even on a digital synthesizer, it's extremely conventional and laborious for people to program melodies in this fashion. 

This is just ONE example of many.  Do you think I would program extreme 12 note arpeggios mixing runs and chords, in which each note has millisecond panning switches, millisecond octave cycling within each note, and high frequency vibrato to add timbre on a regular instrument, all while modulating the duty cycle in a counter polyrhythm to the arpeggio rhythm on a tradition instrument or synth? 

It's not a sick perversion.  It's a mindblowing approach to composition that's truthfully a breath of fresh air in a world increasingly full of presets.  BTW apologies if I failed to notice sarcasm.

danimal cannon is my new best friend. Sorry 10k

Can we fight now?