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Earth
danimal cannon wrote:
breakphase wrote:

Hahaha yeah that's really what it's about. It's for hobbyists mostly. And sometimes you can get enough people together to listen to it at the same time.

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.

Well yeah it was kind of sarcastic. I don't think it's technically a "perversion", but maybe just an extreme form of composition? I think it can be very profound and you get out of it what you put into it. But I think it is more for people who want to experiment. It's not like were trying to be superstars or something (or maybe some people are..). I just see it as being more casual than other forms of music.

Anyway I don't mean to denigrate the artform. I agree that the limitations can bring about complex compositions. I just think it's something you should do mostly for personal reasons because you enjoy it. Nothing to break a pool cue over.

campbell wrote:

just scanned through all this. glad i decided to take a break from the internet, bake a cake, and watch mad men today.

Ahh I forgot about that!!!

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BOSTON

other than the faux neologism (<3 u bby, xoxo), i loved what you had to say dan, but do you guys really think that trackers are laborious to program? they were developed as a SHORTHAND for MML right? i mean, clearly times have changed and there are "better" options in certain regards, but I still think that a person with good tracking technique can write and finish a production-quality track way faster than any other electronic audio writing tool.

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Gosford, Australia
BR1GHT PR1MATE wrote:

but I still think that a person with good tracking technique can write and finish a production-quality track way faster than any other electronic audio writing tool.

i'm not even "good at tracking" and even then my best tracked stuff takes about half as much time to make as anything worthwhile i do in fl studio

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buffalo, NY
BR1GHT PR1MATE wrote:

other than the faux neologism (<3 u bby, xoxo), i loved what you had to say dan, but do you guys really think that trackers are laborious to program? they were developed as a SHORTHAND for MML right? i mean, clearly times have changed and there are "better" options in certain regards, but I still think that a person with good tracking technique can write and finish a production-quality track way faster than any other electronic audio writing tool.

heart u2babby

The learning curve of tracking is pretty steep, but once you clear the hump it is very quick.

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Earth
BR1GHT PR1MATE wrote:

other than the faux neologism (<3 u bby, xoxo), i loved what you had to say dan, but do you guys really think that trackers are laborious to program? they were developed as a SHORTHAND for MML right? i mean, clearly times have changed and there are "better" options in certain regards, but I still think that a person with good tracking technique can write and finish a production-quality track way faster than any other electronic audio writing tool.

Yeah I'm like a ninja w trackers. Piano rolls are more laborious i think.

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breakphase wrote:

Piano rolls are more laborious i think.

Indeed.

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Boston, MA

piano rolls suuuuuuuuuuuck

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Gosford, Australia

they really can be!
i just MIDI-in nearly everything now, pretty sick of clicking
not having to switch between mouse and keyboard isn't so bad though; i need to learn all the shortcuts for FT and give it another bash

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vancouver, canada
campbell wrote:

piano rolls suuuuuuuuuuuck

that reminds me: has anyone tried hand-writing piano roll note data using a pen + tablet interface?  i would think it'd be more intuitive than hunting-and-pecking with a mouse, but how well does a tablet work in practice?

OK thread diversion over; it's now more clear than ever that chipmusic is a lost cause and we have an opportunity to start over and do things the right way with seapunk

Last edited by bryface (Mar 26, 2012 6:23 am)

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BOSTON
bryface wrote:

OK thread diversion over; it's now more clear than ever that chipmusic is a lost cause and we have an opportunity to start over and do things the right way with seapunk

fuck seapunk riiiiiiight in the orca-hole. there are only so many "OMG LOL #SEAPUNK" tweets one can read.

i do like the lisa frank ep covers though

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hardcore, Australia

#splash

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buffalo, NY
breakphase wrote:

I think it can be very profound and you get out of it what you put into it. But I think it is more for people who want to experiment. It's not like were trying to be superstars or something (or maybe some people are..). I just see it as being more casual than other forms of music.

Anyway I don't mean to denigrate the artform. I agree that the limitations can bring about complex compositions. I just think it's something you should do mostly for personal reasons because you enjoy it. Nothing to break a pool cue over.

no pool cue necessary (I'd be a terrible fighter) but I still completely disagree.  I'm actually currently working on a panel for PAX East about why I think chiptune is one of the most exciting and ground breaking ways to make music I've ever encountered.  And I've been around a musical block or two. 

I mean there will be casual people who use it of course, but it's certainly not any more casual than people who take up guitar for example.  I don't mean to single you out at all, I've just noticed a pattern of people from all places who treat chiptune like a musical 2nd class citizen, little more than a novelty, when in my experience, it is anything but.  I think that's more of a misconception that hits close to home.

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BOSTON
godinpants wrote:

#splash


see, you were doing this stuff

WAAAAAAAAAAAAAAAAAY before seapunk. you should be own that man.

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Sweden

half of the artists today are regurgitating the same shit (the same goes for Dubstep or Electro or whateverthefuck)!

If it's just half the artists, maybe you should put some effort into finding the music that doesn't suck. The idea that these crappy artists should stop doing what they are obviously enjoying for the sake of your convenience is kind of stupid. The truth is that you're sick of chipmusic because you are lazy.

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Liverpool, UK

tl;dr version - boooorrrrriiiiinnnggg.gif

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California

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