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hm?

cats instead forever

Whoa Tempest - this is rad!!

That's even still more work than something like this track, which is just a whole different song slowed down.

Try it for yourself - grab Gary Low's "I Want You," throw it in Ableton, turn on Repitch Warp mode and slow the tempo down to 95. I couldn't believe what I was witnessing there. That's the actual Washed Out song as it is - there's not even a drum loop added, haha.

And here's video proof of someone doing it from scratch:

Looking back, Vanilla Ice's sampling is no where near as blatant as some stuff today...haha

For the longest time, I wondered how people made such full chiptune tracks, specifically in LSDJ. All of my stuff sounded so basic in comparison, and I was always running out of channels. I thought many people were using additional gear or post production tricks or something...until I started seeing people doing it live. I didn't get how so many artists were getting such a huge sound out of only four channels! I eventually learned how it's done by picking some brains, studying some source code, and observing great performances at a show (while also rocking out at the same time, haha)

So if you're interested in getting thick LSDJ sounds, check this out. This isn't just an LSDJ tip, but an advanced tracking tip in general. Try to fill up a ton of space and use multiple instruments on the same channel. If you get your hands on the source code of a super complex LSDJ song (or any module with limited channels, really), solo one channel and mute all the others. You may notice that a single channel might sound awful by itself - this is because the channel may be filled with kicks, bass, snare, chords, and part of the lead all in one pattern. Working with channel economy like this is a great start to making your stuff sound way more full. A single channel does not mean just one single instrument has to be on it.

So when you have all your channels doing this at once, it makes a huge sound! Many times it sounds like a track has more going on than there actually is - for example, you can definitely get away with placing a kick drum in the middle of a bassline (or even during a lead melody) without people noticing too much. If your song is busy enough, it might not even sound like the note is missing at all! Use all channels together instead of separating them based on "kick channel, drum channel, chord channel, and lead channel" and you'll find making this stuff isn't as difficult as it seems. Can't fit a kick drum in the pulse channel? Put one in the WAV. Can't fit your lead in the WAV? Put part of it in a pulse channel. Mix it up not just by the measure, but even per pattern...or even per note.

It may be a bit weird to start thinking this way though, especially if you come from a traditional audio recording background where each "track" has it's own thing - like for example the "kick track" only has kicks, and the "bass track" only has bass. Tracking in LSDJ isn't like that. The whole is greater than the sum of its parts.

You're good, man. Don't worry about authenticity or validity. People can have their own preference for what they like to do, but people that shame others for not sharing that same preference are jerks, IMO

but to answer your concern about lgpt, I don't think it's as complicated as you think. Sample-based trackers aren't just modern like with LGPT and Renoise, but they go back into the history of this community back to the Amiga - even many MOD chip tunes are just samples with a super short loop, making those simple waveforms we all lust for so much here

but the general consensus of most people in 2014 I think is: 'who cares?"