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ChipMusic.org / Forums / Posts by El Huesudo II
But are the folks who were unfortunate enough to not have bought your music not going to be able to get the tracker files?
I was actually wondering that myself, but I'm being so grateful about free 4mat music that I completely forgot about it. lol
Best news I've read in months. (EDIT: Just like Pulselooper.)
Thank you, man. Really. Thank you.
Ctrix and 4mat can talk about music writing all day long and I won't never have enough. "it is all music" is a sentence that pretty much ruins a music forum.
They should do it more often, for the sake of the hopelessly n00by people like me.
Why an extra?
Because some people like to keep a console as it is and jailbreak the other one.
The assumption by Huesudo that we would make modules if our "idols" (who is that?) made them is ridiculous.
That was not actually an "assumption" as it was more of a reply to µB's post:
My take on [GB and NES being the 'mascot' platforms] is that most of the 'new' wave of popular, live performing artists (Nullsleep, 8BW, Bitshifter, Bubblyfish, Sabrepulse) use GBs, and newcomers to the scene are far more likely to stumble upon their music via Google than, say, Joule. Just look at the 'how can I start' posts by new members, everyone is asking where to buy and how to pro-sound a GB. I think wanting to emulate the sound of something new you fell in love with down to the instruments is fairly normal...
By "idols" I was exaggeratedly referring to people like:
(Nullsleep, 8BW, Bitshifter, Bubblyfish, Sabrepulse)
I'm inclined to agree with him on the point of playing live as opposed to DJing, but I have to say that I think there is a grey area. What is dub? It's pretty live, yet it involves many elements of a DJ set.
As I said, I'm old-fashioned when it comes to live music. Where I live there is little to no dub.
Fuck.
The.
Gameboy.
But let's get back on topic.
Even though I love Famitracker and it's still my weapon of choice, I love module tracking and I'm trying to get better at it.
Module tracking lets you do lots of stuff with sound. On-the-fly additive synthesis using only a sine wave sample? It's possible. Getting pulse-width-modulation by playing around with a saw and a ramp? It's possible. Adding variations to the sound of a percussion track by playing the same beat on a different channel and with different notes? It's possible. And those are only the few tricks I've discovered/observed, I bet some of the veteran tracker users would probably tell me I'm just 'learning to walk'.
Module tracking is also, like someone else said on the thread, piss easy to backup and share. Unless you're using a gigantic amount of high-quality samples, most of the time you end up with a file between 8 and 80 KB that even my grandmother and her dial-up connection can download and listen to. And another great thing about this: it allows for collaborative work. I can write up a few patterns, upload the file, some other dude can grab it and expand it or refine it, upload it again, then I open it again and do some more, upload it again... There's an imageboard around where people do that, IIRC. And unless people are using and abusing commercial VSTs, it's pretty easy for any and everyone to have compatible setups to do so.
I know most of the stuff I'm saying has already been posted and that I sound like one of those excited youngsters marveling at the mundane. But that's how I feel about module tracking right now. And I bet many of the newbies would be marveled by it too if their idols made more modules, not to mention if certain module artists didn't delete their work at any chance they had, 4MAT. I know you might have good reasons to do what you do, but damn, man.
As for the live aspect... I dunno. I'm rather old-fashoined about that kinda thing, and to me, people who just push play and fiddle around with the volume and the patterns are just DJing, not actually playing live. To me, playing live involves an instrument being played at the very moment, and that the instrument's output is what's being heard through the speakers. That's what I know as playing live, and as for playing chip music live, I would expect seeing musicians rocking the shit out of a keyboard/keytar and/or an electronic drum set. Maybe even vocals. Maybe even grabbing the vocals and passing them through a vocoder and/or a bitcrusher to get some backing vocals. Who knows?
For some reason 4mat gets rid of as much of his online material as possible every now and then.
He shouldn't, because his stuff is generally very awesome.
Stick it up to him by downloading it illegally!
(JUST KIDDING)
(or am i)
That moment when you realize that not everything has to be unce, or wubwub
That moment where you use noise channels for more than just hats/snares
That moment where you realize that the "fakebit" thing is absolutely retarded
That moment when you realize you're not alone out there.
That moment when your computer breaks and forces you to delete everything off your computer, including all your songs, your trackers, your preferences, and everything else. I haven't witnessed this yet but it must suck.
That's silly dude, most of the time you can try to grab the files through other means.
Unless it's one of those viruses or a serious hard drive failure, you can put the computer's hard drive inside an external casing and plug it in another 'puter and snatch the files out.
That moment when you realize you can make chipmusic with more than just a Gameboy.
That moment when you realize you can make music with more than just a tracker. 
Also: That moment when something that you wanted to do slightly becomes a burden because of how people expect you to approach that something. I mean, OK, I wanna try learning guitar, but my father says he'll only lend me his if I'm gonna "be serious about it"...
That moment when trying to save your current track crashes your tracker for some unknown reason, sending all of your work to the dump.
That moment when you realize you've wasted most of the afternoon trying to replicate said bug to get help on it on the Internet to no avail: it just won't happen again.
Days later, that moment when IT HAPPENS AGAIN after you dropped your guard and made another track.
I must have missed some posts around here because I didn't see anyone mentioning Vangelis.
I know he's not that early but man, it goes without saying that he's brilliant.
Oh, cool. Another one of those things like Facebook that I'll be staying away from.
kitsch wrote:[i mean, i get saying something like... american "diplomacy", or american "justice"... you know... the quotes are facetious and serve a mocking function...
just struck me as sort of funny the way its quoted. this thing, "america"... the so-called ""
The worst offenders are restaurants and bistros around where I live. They can never, ever figure out where quotation marks go.
The bistro around the corner of my workplace advertises "stew" every other week. Like hell I'm touching stew that's put in quotation marks! "Today" is another favorite. I guess because it's relative of the time-zone or planet or something?
LOL I know
some dudes on a restaurant on the way to my workplace put up a sign that says "our chicken is REAL CHICKEN" to spite all the other places that say they got real good "chicken"
This smells like a nefarious scheme anyway you see it.
While the fact that this wasn't a simple case of photoshop-effect clusterfuck can be easily proven in court, only needing to get the artist up there explaining his process and maybe showing a few WIP images here and there, Baio did say that defending his claim of fair use was waaaaaaaay too expensive. And apparently Maisel is described here as "an aggressive copyright defender", so he must have known how expensive defending the case actually was.
So, determining that Baio was better off just handing a small amount of cash over and getting it over with, he went into full aggressive mode to get the quick buck. He might have not cared about how much Baio would be screwed because of this move, because most likely Maisel was actually a little ticked off that no one asked for his permission.
It's pretty obvious, really.
...One thing I'm a litle bit confused about. You say you see sound as color, but that doesn't actually explain what exactly is the process here. How do you see it as color? What do you see differently from the usual when you're listening to music?
I've read about symbol-color synesthesia and that's pretty damn easy to understand (not to mention that there are colorful letter example images almost everywhere). But in this case, I can't actually imagine it.
ChipMusic.org / Forums / Posts by El Huesudo II