Anyone know if there's a program like muddyGB or this fork, but for other consoles with more buttons? More specifically, I'm looking for something like a cross between Free PIano and muddyGB for the PS Vita or something similar, something where I can assign buttons and button combos to specific notes/chords on the keyboard and use the touch screen or extra buttons/inputs for various commands. To be clear, I'm not looking for a tracker but something that can play different notes in real time by pressing different buttons/button combos.

That's probably a tall order, so I'll take what I can get as far as muddyGB equivalents on consoles that have controllers with more buttons. Anyone know of anything?


(58 replies, posted in General Discussion)

I'm suprised nobody's mentioned "Missing You" by Trash80 yet: In fact, much of Icarus is somewhat melancholy.

I've also tried my hand at this kind of thing: … amentation


(6 replies, posted in Nintendo Handhelds)

urbster1 wrote:

when i've played live, i've noticed PU leads to be too loud or noise instruments to seem harsher - i think it's because the high end can have some extra boost to it, depending on the sound system and acoustics of the venue - there's nothing wrong with turning down the high end on your mixer here. after a live performance, record some notes on what you thought seemed out of place in which tracks. then, go back home and listen again through headphones and see if you can make some compromises. maybe the pu leads or noi snares / hats can actually be lowered a bit.


there is also another thing you can do which is this: test your song on as many different sound systems as you possibly can. headphones, phone speakers, the internal game boy speaker (seriously), your car, your (or a friend's) TV/entertainment/stereo system, studio monitors, anywhere you can plug into basically. that way you can get an idea of how it's going to sound regardless of what system it's played on, and make compromises that way too.

These are excellent ideas, and I never thought of them! Thank you for your advice!

urbster1 wrote:

re: EQ'ing after the fact, the phrase "polishing a turd" comes to mind. like it's just generally a good idea to eliminate extra steps if possible. like as an example instead of EQ'ing the high end out of your kick, try designing a kick with less in the high end to begin with. otherwise you're just creating extra work for yourself trying to compensate for something that might not have been that good of an idea to begin with. if your pulses and snares sound too loud, lower the volumes, rather than trying to compensate for it by turning down the high-end in the mixer EQ. EQ on a mixer should (ideally in a perfect world) be for fine-tuning only.

This is something I needed to hear. I'll experiment with lower end snares in the NOI channel.

urbster1 wrote:

all in all though, it sounds like you're getting the hang of it actually. just keep playing, the more you do it the better you'll get.

Thank you very much for your encouragement. I haven't gotten too many opportunities to perform over the past few years and have been trying to start a chip scene in south Florida. I and some other have gotten a small group going and have recently found a good spot for a home base for performances plus one other candidate.

iano wrote:

Think at the frequencies: if instruments plays in the same range they fight for standing in the same place, affecting each other sound. Otherwise if it plays alone in that range you can put down the volume and hear the instrument clearly
In my experience high envelope on cymbals and hihat can really fuck a track so I suggest to lower down hihat and cymbals on NOI, you will hear it anyway (like E5x or less), same theory on PU when used in high notes melodies: probably it act in a freq range alone so no need to boost the volume.

I have noticed this when playing two pulses at the same frequency. As a result, I usually put my harmony/rhythm chords about an octave or two lower (depending on where the bass is) and lower the volume a step or two below that of the lead. I suppose it's always been a second-nature kinda thing to me once I noticed it, but your stating it just solidifies it for me. So, thanks!


(6 replies, posted in Nintendo Handhelds)

There are no rules for what sounds go where in LSDJ, put a kick in noise or pu2 or whatever.

Oh, hex yeah! I have no trouble putting pulse kicks wherevs. That's no problem at all.

There is not a golden rule for what volume an element of a track should have however. A good mix is more about listening to which elements should protrude more or less, and create a balance between them.

That's what I've thought, and it is most helpful, thanks. I suppose a better question would be "at what volume should my instruments be in general"? Should they be lower in general? If so, how low?

Sound design in your instruments is a good place to start with your mix, the less you have to eq, the better as the process tends to make bad sounds worse.

Thanks for your reply as well. Just for clarity's sake, are you saying that if I equalize something after it's "done", it sounds worse than it would if I didn't equalize it after the fact?

Usually, I start composing with mixing my instruments and, like I said, I usually place the lead around 7, the harmony around 5 or 6, the snares and hi-hats around 6 or 7, and the bass between 20 and 40. I'm told that this is too loud, though. Maybe I just need to turn down my NOI instruments?


(6 replies, posted in Nintendo Handhelds)


I've been composing for years now and am still shaping my sound. Within the past week or so, the issue of equalization has come up. When I first started composing, I would just turn everything up to FF and adjust envelopes as necessary to get the drums, leads, etc. that I wanted. Then I learned to turn my instruments down and that they could sound just as good at A7 and lower. Most of my work has the volume turned up to between 7 and 9 with harmonies at 5-6 and snares at 6-8. The WAV channel varies, but I rarely set the volume higher than 20-40 at the start end of the waveform and usually make it dip in volume from there


When I compose, everything sounds fine in headphones. When I perform however, depending on the venue's acoustics, certain stuff is equalized weirdly. My snares/NOI instruments are too loud and my pulses seem too rambunctious. Maybe it's the kind of music I try to make (four-on-the-floor stuff, i.e. the stuff most people on here probably don't want to hear anyway). Adjusting high end with my (basic) mixer during performance results in pulse sounds getting turned down with NOI sounds (duh).

Rules of thumb I've learned reading up on various chiptune sites:

"Turn your instruments down" - Roboctopus
All equalization should be done in LSDJ - some person I unfortunately don't remember


If there is a good rule/set of rules of thumb for equalizing the different channels on the DMG:

- at what volume should the pulse channels be, in general?
- at what volume should the WAV channel be, in general?
- at what volume should the NOI channel be, in general?
- does it make a difference if the melody is in the WAV channel?
- how loud should harmony be?

If there is no rule of thumb, what advice can you give in general to give composing/recording/performing a level playing field regarding sound?

Tl;dr: I'm a n00b at equalization and need help making stuff sound just as good coming out of house speakers as it does in my headphones. Plz help


(36 replies, posted in General Discussion)

GOTO80's Bortabra is the closest thing to ambient I've heard in the chip world:


(1 replies, posted in Releases)

Rest assured I shall be checking this and your backlog out. I don't usually pay for chiptune, though, unless it's crazy good and there's no other way to get it.


(7 replies, posted in Nintendo Consoles)

I'm not sure if it's done with the SNES, but you should also check out Heat by Phlogiston. It's a part of a douple EP release he did which can be found here:

And you might be able to find something that suits your fancy on the now closed netabel, Pause:

You may also wanna try Ubiktune. They specialize in genres in between chiptune and other things:

xIk has some excellent NES tracks on 8bit peoples:

Phlogiston's Mode 3 is also one of the best NES albums you'll ever hear:

Mr. Spastic does some amazing "urban" stuff on the NES as well: and … and … to_16_Bit/

Virt (i.e. Jake Kaufman) also released 4 albums of NES music:

Gonna have to check this out when I get off of work. I have an album that's in its final stages, and I'm gonna need something to spur me into making new stuff.


(13 replies, posted in Sega)

I believe the DefleMask is the thing you seek. I've never used it, because I don't have a flash cart for my Genesis. However, I haven't heard bad things about it.


(12 replies, posted in General Discussion)

Whoa, okay, wow. So, is his thing with not getting the midiNES to people the reason he was banned from 8bc?

catskull wrote:

He also linked to this website, is this him?

Just did a quick google of him, and HOLY GOODNESS IT IS!! Cool! Thanks, Catskull!


(43 replies, posted in General Discussion)

I was into video game music cover bands (The Megas, Metroid Metal) in late high school. While in college, the bands to which I listened weren't releasing anything new, so, hungry for more, I asked on the forum of if anyone knew of any groups/artists who made "video game music". Someone there linked me to the page on 8bitpeoples for Anamanaguchi's Power Supply album, and my mind was blown.

Within a year, I was tracking on NerdTracker II. After about a year, I had borrowed an R4 from a friend on campus, downloaded the LSDJ demo, and was making Game Boy music on a DS lite. Eventually, I graduated to a DMG, bought an EMS cart, and bought the full version of LSDJ (that $2 really broke me for sure).


(12 replies, posted in General Discussion)

I was listening to Nestek and Outra last night and was reminded of just how amazing his (?) work is. I remember that he somehow got himself banned from the Chiptune Collective when that was a thing. His website is also down, and he hasn't released new music since Baud of Passion (?). Anyone know where he is and if he's still doing musical things?


(22 replies, posted in General Discussion)

C.S. Lewis is my favorite author so I'd highly recommend his space trilogy (Out of the Silent Planet, Perelandra, and That Hideous Strength) as well as his final novel Till We Have Faces. If you like Lewis and want to get a bit deeper into Faerie, try some of George MacDonald's works: The Golden Key, The Light Princess, The Princess and the Goblin, The Princess and Curdie, At the Back of the North Wind, and Phantastes are worth checking out. I also recommend The Neverending Story by Michael Endeā€”it's much better and richer than the film (sorry). Ursula K. LeGuin's Earthsea books are also worth checking out, though I've only read the first (A Wizard of Earthsea). Oddly enough, I'm also a huge fan of Garth Nix's Abhorsen quartet (it used to be a trilogy): Sabriel, Lirael, Abhorsen, and Clariel. If you like those you may also want to check out Across the Wall: A Tale of the Abhorsen and other stories, a collection of stories by Nix that gives a couple of side stories. Roger Zelazny's work is also very well done and entertaining: try A Night in the Lonesome October and Bring Me the Head of Prince Charming. Finally, for classic sci-fi, try Tunnel in the Sky and Orphans of the Sky, both by Robert Heinlein, and Stanislaw Lem's Cyberiad.

So, to recap:

C.S. Lewis:
- Out of the Silent Planet
- Perelandra
- That Hideous Strength
- Till We Have Faces

George MacDonald:
- The Golden Key
- The Light Princess
- The Princess and the Goblin
- The Princess and Curdie
- At the Back of the North Wind
- Phantastes

Michael Ende:
- The Neverending Story

Ursula K. LeGuin:
- A Wizard of Earthsea

Garth Nix:
- Sabriel
- Lirael
- Across the Wall: A Tale of the Abhorsen and Other Stories
- Abhorsen
- Clariel

Roger Zelazny:
- A Night in the Lonesome October
- Bring Me the Head of Prince Charming

Robert Heinlein:
- Tunnel in the Sky
- Orphans of the Sky

Stanislaw Lem:
- The Cyberiad



(12 replies, posted in Nintendo Handhelds)

I organize my instruments as follows:
00-19 = Pulse
1A-1F = Kits
20-2F = Wave
30-3F = Noise
(I don't use speech as often as I ought...)

For tables, I usually use 1A-1F for percussion (bass kicks, snares, etc.). Everything else is up for grabs.

For Phrases, I usually use EA-FF for percussion and silence. Everything else is up for grabs.

For Chains, I usually reserve 70-7F for Noise. Everything else is up for grabs.

I'm kinda in the middle, I guess? I dunno...