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essentially, a real human performance is still what people identify with when it comes to music. pure chipmusic, there is arguably no human element and i think this affects the perceptions of it at a base, instinctual level. people doing fakebit concerts, mashing random buttons on their apc-40 at least appear to be interacting with the music in some way. even moreso than a kid with a gameboy.

and 'chipsounds' have been done before, look at what moog did. his synths were all about the simplest waveforms and manipulating them with envelopes and filters. the moog sound starting to become really popular once it generally moved away from arpeggiators/sequencers and more people started directly controlling it with a keyboard(real, live interaction and performance). these original 'chipsounds' touch just about every type of music now.

truchip is struggling to break out becuase the true human interaction is missing, at least fakebit can offer a little of this. i just wish people would start playing the fucking keyboard and stop having hand spasms over an apc-40.

edit:

@breakphase, "How have you objectively established the efficiency of achieving something which can only be evaluated subjectivly?"

i don't think evaluating efficiency based on average time consumption is subjective. it takes more time to go through a tracker and set volume level per note than to simply move a fader. it takes more time to make same-channel echo than it does to slap a reverb or delay vst on a track and mess with the wet/dry settings. it takes more time to figure out how to incorporate a five instrument arrangement into two pulses and a triangle, when there is no limit with DAWs and sampling. learning how to be efficient and intuitive with a tracker is, on average, a terribly time consuming chore for most people.

hey editx2:

would like to point out, if it wasn't already obvious, that this HumanElement is why bands like anamanguchi are so popular. it's why j. arthur probably had one of the best live gameboy shows. there are other instruments being played by ActualHumanHands(or use of voice!), which people can connect with.

but hey, at the same time this becomes fakebit or something

paulc, i'll piggyback on your mml and work out some sound design concepts that hit closer to the arcade texture. i'll post something here in the next 24 hours.

for the select screen, you could easily combine the chords, the choir texture and the melody into one pulse channel with some good arpy pwm tricks. the second pulse could act as the bass and i'll try to get pcm samples working with xpmck.

if not, the second pulse could easily double as bass+kick and snare when combined with the noise.

edit: hey yea, was checking out the original gameboy music for mk3, there's definitely a lot more detail that could have been squeezed out of the soundchip for this music. tho i wonder if the extra details would get in the way of resources and stuff.

hey this looks fun. i'm quite experienced with mml; willing to help.

btw, i cofounded a neat mmlsite for ppmck(nes), it's as user friendly as mml gets so go give it a try : ))

http://mmlshare.com/

lol, just sayin

Hey that's a good point. Appears that we're all on a sinking ship, yea?

These sounds are so interwoven with this phenomenally over-embraced dorkdom culture and proud manchildren of the western world, who the fuck could really take any of this music seriously outside of the niche circles on the internet and Hipsterton, Big City?

And we do have some people in more prestigious locations, striving withing the university, pursuing a professional music career via the contemporary classical fields and presenting chip music to their juries. Zackery Wilson, sorry it's time to call you out.

And the presentation still hands it's dorky ass over to be scrutinized with pieces titled "Insert Coin Here" and "GameOVERture". What an opportunity to change minds in a serious way! Thwarted by such a collective lack of self confidence in the potential relevance of the sound.

The contemporary classical circles would totally dig a presentation that revolved around, again, "I've explored this musical landscape of mine exploiting the emotional vulnerability of these select waveforms."

edit: hey i agree with herr_prof

but i do think there is a relevancy to the exploration of emotional character within 8-bit processors and how they behave with sound chips. this might seem a bit contradictory toward agreeing that these topics are a bit stupid, but my point's punctuation is: leave the condescending ego shit behind and understand what's what with sound, how people react to it and why.

For the sake of the intended discussion...

What I think it all boils down to:

People don't stick with "proper chiptune" most likely because their musical decision making process revolves around the feedback they receive from the tools they use, rather than relying on the ability to compose something that properly comes from the noggin or cultivating a reliable and faster paced interaction with a 'real' instrument. Playing around with user friendly DAW audio, midi and groove effects make producing music a lot easier when you don't actually have many musical ideas. You need to have more properly solid ideas when you approach a tracker or you'll end up wasting a lot of time tracking in junk and relying on the feedback to feed your musical process.

People "still label themselves as "chiptune", do chip shows, etc., and generally carry on in a chiptune fashion despite supposedly being beyond all that" most likely because they enjoy the niche aesthetic of what 'chiptunes' represent. They want to be a part of the established live performing community but are probably either too lazy or too scared(from personally coming to this realization in previous paragraph) to continue relying on trackers for their musical output.

"Why spend all the time developing techniques to bring thickness and life to limited channels when you can just sample shit and layer as much as you what with a DAW?" /rhetoric

Another real question: Why are the concert goers at the venues tolerating this shit as if it actually didn't matter?

and a juxtaposed one: Why can't the general public tell the difference between an objectively good live classical performance and a bad one?

update on the nes, i dug around and found some decent gold av cables, which are now included(like it should have been in the first place). GOLD PLATED, guys...makes those pixels really P0P!!1