17

(7 replies, posted in General Discussion)

Joined recently. Any other chip Telegrams of note?

The biggest problem was that he tweeted the wrong thing at the wrong time and that made people jump against him. I know some people have it real hard to resist getting defensive and talk shit about others, but these things have consequences. I guarantee you that if he hadn't tweeted what he tweeted to Shirobon, he would still have a Twitter account and he'd be on his way to making lots of friends in the scene and probably improve his music.

Vaina Moinen wrote:

Chill out guys, I read the article, there's literally no one in the world doing what he's doing right now.

True. None of us is claiming to be the sole original composer on YM2612 and then telling Shirobon his music sounds like MySpace on 2008. So yes, this guy is pretty fucking original.

Agree with MrWimmer here. Not just because of my preference for Famicom sounds, but also because FT is very user-friendly and it's very easy to compose on it. And once you have something solid on FT, you can easily port it to your 2xLSDJ set without the need to worry about emulating 2 GBs at once.

21

(66 replies, posted in General Discussion)

Creating a reference table for microtonal tunings for FamiTracker. Since it works via pitch correction, some extensions (N163...) are simply unfeasible - you can't pitch correct enough to cover tones that need to shift more than 80 registers either way.

"Why bother then? Microtonal stuff sounds weird anyway" I dunno.

22

(1 replies, posted in Nintendo Handhelds)

EDIT: Wait a second, I frickin' made it. I ran the script.

Um, as for stuff you can use to perform microtonal music on DS... only other thing I can find that could do microtonal would be this, only if it fully supports MIDI and pitch control like it claims:

http://createdigitalmusic.com/2007/10/d … ntendo-ds/

Lots of big names in that ESA membership list. (And then there's XSEED games. Welp.)

I understand that as an industry there are a lot of interests in play. I work for a corporation currently, and I wouldn't like it if my paycheck wasn't secured. It would cause me a hell of a lot of problems if it wasn't.

But there's that on one side and this on the other. It's an insult to consumers everywhere to think that they can cling on to past glories in order to keep dishing them out to the public when they've already played them over and over and over and over and over again. Allow people to preserve them as the examples of pop culture they once were, they're all already long past their prime. To keep trying to milk them for money after all these years when customers are asking for new content, ACTUALLY NEW content, is an insult.

I know, I know, consumers aren't the smartest people around when they engage in consumption. But still, to mock them like this is to underestimate how much they can screw you over when they get angry en masse.

24

(84 replies, posted in General Discussion)

The place where I live doesn't even know chiptune exists

even though I mention it, and talk about it, and even hand out a few files here and there

it just slips off the mind of people

maybe I need to write some chip rancheras to hit it off in Monterrey, though I bet they'll think I'm just ripping off of El Sonidito

https://www.youtube.com/watch?v=x47NYUbtYb0

25

(84 replies, posted in General Discussion)

Jellica wrote:

someone will open a chipmusic themed vegan cafe in berlin.

Don't rush me, I don't have enough cash for the ticket to Berlin yet.

26

(12 replies, posted in General Discussion)

Aren't those LSDJ and nanoloop ROMs the free trials, anyway?

27

(44 replies, posted in General Discussion)

danimal cannon wrote:

DEADLINES.

SOMEHOW INVENT THEM IF THEY DONT EXIST. Ex: Weekly Beats, Compos, etc

This is sound advice for people who own their own schedule. However, there are some of us who often get reminded that school or the day job often require you (and tell you outright) that you dedicate yourself entirely to them, or else. Otherwise, you might be the kind of person who sets tight deadlines, takes ambitious projects only to later realize you bit off more than you can chew, or are more defeatist than the rest of the people.

Deadlines, then, are not for you.

In that case, well... I can't guarantee 100% success yet because I'm merely starting to try it out, but keep a checklist of things you want to try to practice in a whole month. Yes, keep it to a month - you can even use a calendar. Divide your main goal in lots of VERY SMALL goals, and commit yourself to them in tiny timeslots (think 15 minutes); use as may days as you want for each mini-goal.

At times you'll notice that you're unable (for any reason) to fulfill the practice time on a certain day... It's OK! Just don't mark it on the calendar that day, that's all. At the end of the month, check how many times you could practice. Say, 20 out of 30 days, sessions of 15 minutes? That's 10 hours of practice on the month. Your goal for the next month is to do more than that.

People who already have solid practice or work routines could tell you "isn't that too slow?". Yes, it is slow, but the point is to actually do as much as you can manage to do. Say you're only able to pull off 6 10 minute sessions in March. Only one full hour of practice seems like almost nothing, but let's be honest here - if you weren't at least committing yourself to the tiny daily sessions, would you have had any practice time on March? I've only been able to practice guitar for 103 minutes so far this month; but if I weren't using this system, I'd have 0 practice under my belt.

So do as much as you can in as much time as it takes. It's not gonna feel like it was "too slow" once time has passed and you realize you mastered an instrument and released 3 or 4 albums on Bandcamp (or your platform of choice).

Believe me, I'm not the kind of guy who can benefit from goals and deadlines. I mean, I said I was gonna learn more about music and more about tech and more about... when I was 17. I'm 28 and I've only now started. I don't want to be 35 years old and look back to see I've still "only just started".

28

(32 replies, posted in General Discussion)

I have no choice. This is a laptop.

29

(32 replies, posted in General Discussion)

My resolutions for 2015 are 1920x1080 on 2 of my screens, 1366x768 on my native screen in the laptop, and iirc 800x600 on my Tuxbook

just kidding

My 2015 resolutions are a) rehabilitating my classical acoustic guitar (needs a new nut and probably new frets, also I need to get light tension nylons), b) at least learning all there is to know about rhythmic guitar and a bit of lead (rest of lead, blues, and jazz would be my 2016 resolutions), and c) completing more than 2 songs in a year >:(

Oh, and I guess practicing a bit of Java. I'm also interested in drawing, but I guess that's gonna have to wait a bit longer... Never too late, apparently.

Feryl wrote:

As far as perception goes, of course everything we know is filtered through our individual beliefs, thoughts, and experiences (since we are ourselves); but does that preclude the notion of objective truth / reality existing on its own, as something we can choose to see or not to see?

According to a certain belief system I'm familiar with, by the time everyone accepts the same objective truth about reality, all living souls will be devoid of bodies and transcending to a higher state of being, away from the cycle of reincarnations. And it also has something to do with the Buddha of future times or something.

it all might be a funny way to say "it's not gonna happen".

Feryl wrote:

I'm talking about things like "in things so subjective like the quality of [...] music, there's no wrong or right" and "quality is in the ear of the beholder [...] to think otherwise is to succumb to sophistry." If one musical taste is never objectively worse than another, then how could all songs be anything but equally praiseworthy, if their worth is completely defined by the listener's subjective experience?

Because we still have the freedom of though required to know if we wish to praise it or not. We still have the freedom of taste to like or dislike something, and the escape of something "not being our cup of tea".

There's no need to praise music, after all. We're free to do so, as we're free to try to communicate why we like something (even though some people would see it as a justification instead of an explanation). But we're also free not to do it.

Feryl wrote:

What I meant was that our perception alone cannot alter reality as such. For example, claiming that Call Me Maybe is a masterfully complex piece of songwriting cannot make it so. But we do have a means to judge certain qualities of music (as sugar explained) as better or worse than others, don't we, using intelligence and objective factors of quality, like technical expertise, complex songwriting, and intelligent structure? Otherwise, what's the point of expressing opinions or writing reviews?

Except in this case, you're pinpointing the subject of discussion about the song; you're selecting the area of objectivity... Call Me Maybe is NOT a masterfully complex piece of songwriting, and very few people would dare to call it so. But you're coming off as someone who only judges music in regards of the complexity of its composition. Is that somehow different to the people who would judge it for its monetary success? Because in that regard, Call Me Maybe was a hit. I don't need to start a discussion between those 2 polarizing views to predict the kind of fight that would ensue.

Feryl wrote:

What does your perception do to you / others around you / other people's perceptions? Is it more important to align your perception of the world as it really is (outside of yourself), or as you wish it to be? What if a murderer perceives himself doing good by killing innocent children? Is his perception all that matters, or is it important for him to align his perception with basic moral law, as determined by others?

Except perception is all that we have. We have no way of experiencing anything without our perception of what is; there's no exchanging. At most we can only try to imagine what it's like on the other side, but that's just a mental simulation. It has limits.

And please refrain from using analogies with shock value on this discussion. This isn't a debate about morality, this is a debate about art; there's no need to invoke debate techniques from other topics into this one.

Feryl wrote:

You're operating under the assumption that no song is objectively better or worse than another, which I find ridiculous. Are you telling me that Call Me Maybe or Friday have the exact same worth as any other song? Preposterous.

Our perception has nothing to do with the state of reality. I'd need a lot more evidence to convince me that all songs are equal in quality. You can't say that because different people enjoy different songs differently, that makes all songs equally praiseworthy. It's an illogical leap.

The problem lies in where you apply objectivity in terms of music. Production? Composition? Performance? Technique? And even then, in what terms? If a song is made to be catchy and memorable and it does, isn't it objectively good for fulfilling its purpose, despite other criticism that can be done against it?

Also, what is "worth" in this case? Cultural worth? Intellectual worth? Sentimental worth? Practical worth? Would you be so cruel as to mock a young couple whose transcendental song is "Call Me Maybe"?

I mean, sure. I don't like Call Me Maybe. I don't like Friday. I don't like All About The Bass. I don't like many songs that air on the radio and have videos that get lots of views and that become viral. But I don't like Jingle Bells, and I don't like the Goldberg Variations, and I don't like Sakura Sakura, and I don't like music with heavy use of trumpets; am I gonna say they're all bad? Of course not, because who am I to say it?

Quality is in the ear of the beholder, in this case. To think otherwise is to succumb to sophistry. And to invite a discussion with people you can't understand, and who can't understand you.