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Topics by L-tron
Posts found: 321-336 of 523
Henry
It is the height of the war in Vietnam, and U.S. Army Bit Shifter is sent by Random and a STu to carry out a mission that, officially, 'does not exist - nor will it ever exist'. The mission: To seek out a mysterious Green Beret Colonel, CalmDownKidder, whose army has crossed the border into Cambodia and is conducting hit-and-run missions against the Viet Cong and NVA. The army believes CDK has gone completely insane and bit shifter's job is to eliminate him! Bit Shifter, sent up the Nung River on a U.S. Navy patrol boat, discovers that his target is one of the most decorated officers in the U.S. Army. His crew meets up with surfer-type Lt-IAYD, head of a U.S Army helicopter cavalry group which eliminates a Viet Cong outpost to provide an entry point into the Nung River. After some hair-raising encounters, in which some of his crew are killed, Bit Shifter, Lance and Chef reach Colonel Kurtz's outpost, beyond the Do Lung Bridge. Now, after becoming prisoners of Kurtz, will Willard & the others be able to fulfill their mission?
Holy shit, just finally listened to this. Is this all 1 LSDJ? If so, this is probably the best, most well produced game-boy album I've ever heard (along with Lo-bat's "Game Boy"). If not, still fucking killer release!
Bump this amazing release. Listen to this madness!
Sievert wrote:DESTRCUTION
I like this. It's like Execution and Destruction combined!
This is a grade A, unique piece. Great job, Cheapshot! Looking forward to more of your stuff (you better finish a track for the next LGPT compo! ;p)
43 68 72 6f 6e 69 63 wrote:Oh and I forgot to say Misfit Chris, and if someone already mentioned him and you actually care then you can lick my balls.
You're gonna fit in just perfect here.
Holy shit, first track sounds epic. Very weird, noisy, awesome sounds. Second one sounds cool but then it sounds like it needs to change cause the bass gets obnoxious. Anyhow, really looking forward to this.
sweeet. Waiting for my incredibly slow internet to finish downloading!
an-cat-max wrote:calmdownkidder wrote:yes, kindly leave.
well, theres no need for that
lighten up here, fellas. It was obviously a joke and meant to be very light-hearted.
But then again, the internetz is real life! >:(
;p
Love you guys. no homo?
I really like electribe03.mp3. Would be cool if you build it up and add a second oscillator to the bass later on to make it sound phatter. At this point, you could bring the hi hats in.. blah, just suggestions. Those are great sounding samples btw! Can't wait to hear the final version.
Didn't really care for the other one as much as I thought the GB sounds weren't as well designed.
keep up the good work.
an-cat-max wrote:Decktonic wrote:Oh for crying out loud, that's the last time I make a joke on this board.
yes, kindly leave.
lighten up here, fellas. 
It was obviously a joke and meant to be very light-hearted.
But then again, the internetz is real life! >:(
;p
Love you guys. no, homo?
godinpants wrote:L-tron wrote: Once you get to know a program really well, you learn the limitations of the sounds
But what is the result of that knowledge? Do you accept them as a dead end or a detour? Does it encourage you to find new ways to explore what you do have access to?
I phrased that wrong. What I meant to say was "you learn the limitations of the hardware, platform, sound-chip etc".
One of the results of that knowledge can be the ability to listen to a .wav or mp3 and disect the synthesis in your head as you're listening. Your brain can hear a complex synth phrase or instrument and figure out how to make that without even picking up the device that it's made with. When you're that familiar with a platform and you hear a sound that you don't know how to make, it can inspire and encourage you to find new ways to explore the program deeper or from a different angle in order to enhance your creativity within that program. This isn't limited to sound design but also composition and channel economy.
Super tired today; hope that made sense.
This thread is awesome.
OrionOrbit wrote:Also, excuse me, but who the fuck do you think you are to be telling people what to do with their tattoos. Your post reaks of jealousy, even if you're not, you sound like it.
Considering this is a thread where a guy pretty much asked what he should do with his tattos, I'd say his comments are a-ok.
p.s. You gotta pay the troll-toll to get into the boyssoul.
Working with limitations is definitely part of what draws me to Chip. The limitation of 4 channels often helps/forces/challenges me to create interesting melodies and rhythmic patterns that I may have not created had I had more channels. Also it's part of the appeal/fun for me personally.
Also trying to get unique sounds is another.
One of the platforms I use is LSDJ, and when listening to LSDJ tracks by other artists, it's fun to analyze the synthesis and channel economy.
If someone makes a really unique sound within the limitations of the program and I can't figure out how to make it off the top of my head, that often drives my curiosity and inspires me to work on sound or write more music. Once you get to know a program really well, you learn the limitations of the sounds, and when you hear a sound made with that platform that you've never heard before, it's exciting, empowering, and inspirational.
Decktonic wrote:Also something else that is interesting and hasn't been mentioned too much in this discussion is that I had a very good experience learning to make music within these limitations, whereas I couldn't learn working with software that had very few limitations. Basically, I learned a lot working with a limited platform before I was able to get really comfortable with using a platform that wasn't so limited. I think this is related to what's known as the "kitchen sink" problem.
Great point!
My advice is to find something you like. Wait two years. If you still like it, get it.
Or just get a watch tattooed on your wrist that reads "Party" or "party time"
Posts found: 321-336 of 523
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