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ChipMusic.org / Forums / Posts by kineticturtle
polymeter is similar in that it's all granulated subdivisions. 3:2 and 4:3 sound cool, 5:4 occasionally finds a use
Well technically all polyrhythms are supposed to be considered additives of 2s and 3s, so 5/4 should always be broken down one way or the other - 2 and 3 or 3 and 2.
For me, the solution to balancing the two varies by song, even by section of a song. Sometimes it's a matter of just laying off the noise channel, most of the time it's writing both parts so they interlock.
It's a learning process. I've discovered lately that a lot of our older stuff has lots of unnecessary shit going on in the noise channel that I've been stripping out to play live lately.
I also play keyboards sometimes, so the noise channel can give me a free hand or two to do that.
1, 2, 4, 8, or 16 (No one uses 16.... but, you totally can)
16th note (and worse - 32nd, 64th...) time signatures are pretty common in contemporary "classical" music, but usually only for passing bars.
Im not a fan of in ears cause it feels like you are so cut off from the crowd, and it really impedes my heckler avoidance techniques.
There's a bit of a tradeoff there, but I don't have too much trouble. With two vocal mics onstage, we can usually hear the crowd just fine. I've considered adding an ambient mic with a ducker that turns it off while we're playing a song, but allows room noise in while we're quiet. Haven't gotten around to it.
Lots of good advice in this thread already.
Complementary writing between chip and band is the way to go if you want a clear mix in your music. This goes much deeper than audio and PA setup of course. I've actually been going back through earlier Glowing Stars songs and ripping out a bunch of noise channel parts. Awkward Terrible doesn't even use the noise channel half the time. This is also why I don't use a hi-hat in that band, because I prefer to program clicky and hi-hat esque stuff into that channel and I can't have both going at once.
In my experience and opinion, in-ear monitoring is the way to go. We initially tried it because we were doing an internet TV gig with audio direct to the sound board, but it's stuck because it's so much clearer than loud PA through earplugs. I've now got things set up so we each get our own mix of things. Everything but the drums goes direct into the monitoring system.
Glad to offer what info I can, but are you trying to get a good sounding recording of your rehearsal, or are you trying to improve your in-rehearsal monitoring?
I'm interested in these once the cases come out. 
Monotony, I'd be down to do your assembly. PM me.
I'm not all that close to you, but they could be shipped straight to me and then to you once complete.
1. I started making chiptunes in 2001 or so, then stopped pretty quickly. I took it up again in 2010 and have been quite serious since.
2. I was creating my own music long before I started making chipmusic. I was inspired to make music because other people make music that I really like.
3. Nintendo Game Boys, SID chips. NES and Genesis consoles on the horizon.
4. High complexity art rock - Mr. Bungle, Sleepytime Gorilla Museum, Yes, etc. Also drone/doom/stoner metal.
5. I studied music theory formally in both high school and college, although I never graduated the latter.
6. Work with the equipment you have before you go dreaming about what you might build or buy. Working on a computer is totally fine, but consider spending some time on the original hardware if you can, it's educational and rewarding.
7. I perform at live shows frequently.
7.a. Primarily in the San Francisco Bay Area in the US state of California.
7.b. Live performance is my favorite part of playing music and always has been. Sharing music in real time with people is always an awesome experience.
7.c. The Glowing Stars uses a drumset, a big guitar amp, gameboys, and a sammichSID with a keytar controller. When I play solo I use a banjo, a baritone guitar or low tuned bass guitar, lots of big tube amps, game boys and a sampler.
I'm going to throw a wild guess out here and say that running a reverse polarity power supply probably blew either an internal fuse or a capacitor in the power supply. It probably shouldn't be a particularly difficult repair, even without a schematic!
Hopefully that electronics shop will be able to figure it out. If we weren't "across the pond" I'd offer to fix it myself.
very interested in what's going on here
justinthursday wrote:Shipping is only $18 to the UK.
That doesn't seem like a lot to you?
It's not. USPS flat rate shipping boxes that gameboys barely fit into cost $17, and the other dollar or two are for packaging.
Glitch Militia is awesome. I vouch for him!
Would you sell just the CPU board? This would cut way down on shipping costs. I would consider buying more than one if you would.
North Carolina you say?
Dude, YES I DO SAY
This shit is gettin' awesome up in here. I'mma PM all you guys soon to get out of the way of this guy's thread.
i'd book you in rochester, ny!
Awesome! We'd love to play with you guys!
Rochester, NC, Pulsewave... this might be a tour ferreals!
ChipMusic.org / Forums / Posts by kineticturtle