Search options (Page 19 of 24)

oh come on, you got to set them up better than that, kid

oh wait

if kool skull got naked at the show and they didn't use any footage...

i'm disappointed

that's right, YOUR lives.

also: this is going to be really good. I promise.

hey man! yeah I'm down here in San Diego! I think the people that I'm aware of now that do chiptune in San Diego are me, Bleeds, Hyperwave, and AuburnKitsune, and we've been playing shows around San Diego for a while now!

we actually have kind of a HUGE show that (oh shit we never made an event thread here) is coming up on the 18th of February and it's going to be AWESOME. It's going to be at the Tin Can Alehouse and we have 7 artists playing so if you're interested in that hit me up in a PM or facebook (facebook.com/spacetownsavior)!

Also -- 10spd, let me know when you're doing stuff in SD! we're always glad to see more artists around here!

this is totally gonna be right up my alley when it's finished

only things I'd recommend:

if you have a spare channel that isn't doing anything, throw in some really long lines to kind of complement what you're doing with the syncopated stuff! I don't know if you're planning on using 2xLSDJ or not, but if you are, then using a pulse channel for long lead lines totally makes this AMAZING

another thing you could do to get the kick louder (again, it only works with 2xLSDJ ) is have the wav kick on another channel completely on its own. when you're working with music that fast and you want to do stuff with a bass pattern like that (when it goes kick-bass-bass), the problem is always going to be whether you have enough room between the kick and the bass note for the kick to really make its presence known, simply because it doesn't have time to do its pitch shift down before it gets interrupted by the bass note! the higher the BPM gets, the less time the kick drum has to do this! so a potential solution would be to simply give the kick drum its own channel so it has time to get through the table. but then you lose a wav channel

you could also use another pulse channel to double it like skgb said (again, 2xLSDJ) and that gives your kick a great hardstyle-like presence! I guess I'm just trying to make you get another copy of LSDJ ._.

sounds awesome though! really looking forward to hearing more of this

No such thing. Not to nitpick, but opinions are by definition not objective.

The thing is, the compositions came before music theory. It's not like Bach sat down and declared that a cadence that starts on the dominant and ends on the tonic would be an authentic cadence and then started writing a bunch of music that conformed to that theory. Rather, Bach (and every other composer ever) made a bunch of songs that had phrases that went from V-I, and people studying their work realized this pattern and called it an authentic cadence.

Point being, music theory is really just a method of describing trends of techniques in music. We come up with these theories so that we can talk about music without having to reference every single time someone uses an authentic cadence ("That one part at the end of the 4rd phrase in the Toccata in D minor was awesome!"), but that doesn't mean that the theories are law by any means. It's good to demand better composition and using techniques from music theory is a good way to foster that betterment, but I don't think referencing classical music is the way to do it.

Here's why: imagine you're some person who doesn't really know much music theory. You make a song and ask for criticism on it, and someone says that you don't use very good chord progressions and you stay in the same key the entire time. After they tell you this they post a link to a Chopin and tell you that this is a good example of interesting chord progression and key change.

If I'm that person, I'm not thinking about how I can learn from this Chopin piece because I DON'T KNOW MUSIC THEORY. I'm thinking: "did this guy really just compare me to this romantic-era pianist? why would he do that? I'm just some kid with LSDJ. What does he expect me to hear?"

By using a point of reference that's too obscure for someone to parse, you've effectively disinterested someone in learning music theory. It's obscure because not only do they have to change their listening strategy to an unfamiliar environment (piano music), they also have to find this particular compositional technique in this environment. I don't want to make any assumptions on the musical tastes of your average chiptune musician, but chances are that even if they do listen to classical music, they aren't directly influenced by it.

Now if instead you took a piece of music in the style that random LSDJ user is trying to compose in and point out a compositional technique there, the person you're criticizing now doesn't have to come up with a new (or unfamiliar) strategy for music listening, and it's a LOT easier to figure out what you're trying to talk about when you don't have to reorient yourself like that. If I'm making a dance track and someone points out a cool chord progression in another dance track, I can just zero in on that progression because I'm familiar with everything else the track is doing.

I think that kind of criticism is a lot more valuable than doing it the other way, because not only is it parse-able and helpful, but it could also open up a door for the person you criticize to go to other kinds of music (like classical) and learn theory in those environments! I remember my music theory training always seemed so random and unhelpful in practice until I realized that the music I listened to followed these trends too, and THAT was when I started applying the theory to everything (including my piano performance).

hell yeahs to:

hell yeah bleeds
hell yeah wizwars
hell yeah 4mat
hell yeah electric children
hell yeah j. arthur keenes band
hell yeah prom wolf
hell yeah sabrepulse
hell yeah henry homesweet
hell yeah smiletron
hell yeah crashfaster
hell yeah glowing stars

I've probably missed some that I really liked this year