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Insert some prattle about work, social media alternatives, and such here.

It's hard because we're not here to make enemies and many of us create music to relax or entertain, but there's always room for a little risky behavior.

Is choosing fewer waveforms and tracks rebellion against production norms? It depends on who is making it. It can work both ways, because at one point choosing to make tracks in FL or Live instead of a tracker or using eurorack modules was against the grain compared to other chipmusic.

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There's no such thing as "better," the effects are sound colors. It's just a matter of what you think will work for you.

EQ is good for "rolling off" or emphasizing frequency bands. You can use that to make a channel sound more or less noisy, clicky, thumpy, or otherwise to get sounds out of each others' ways.

Compressor is for flattening the loud/soft dynamics of a signal, and can be used to either emphasize or take the bite off of clicks.

Reverb is for making a signal sound like it was made within a space before it comes out the speaker.

Overdrive/distortion/fuzz are for intentional clipping. The three words describe how extreme the clipping is, but they all mainly do it the same way, by boosting a signal and shorting part of it to ground with a diode or 2 or 6.

Delay is for repeating the signal, and can be used to make chords out of single notes, among other things.

Phase/chorus/flanger are effects that are also based on very short delay timing, with a little bit of pitch shift too.

In case you are asking what order to put the pedals in, there are no rules for that either, though I've heard this suggested:

Gate> EQ> Compressor> Clippers from weak to strong> Modulators> Delay> Reverb

More stuff in the chain means weaker signal strength and more noise.

I hope that was useful.

Consider the diatonic harmonica, an instrument that only plays the notes of a particular major scale, only plays the tonic chord when you blow through several holes, only plays the dominant or subdominant depending on where you suck in, and sounds a little like a train wreck if you pick the wrong spot. Then there's John Popper.

Like the harmonica, chips have extended tricks that dazzle instead of just toots and beeps, so there's room for virtuosity. Also like the harmonica, you can't escape the inherent limits of timbre and range.

I'm going to guess 1963. https://en.wikipedia.org/wiki/Dual-tone … _signaling

If I remember, I will ask my father on Monday. His wife is barely old enough to remember phones that crank for the operator and have no dial.

There was a "random arpeggio" function built into the ARP Quadra synthesizer that makes that sound possible. Other users of it were Duran Duran (Rio, Save a Prayer and others,) and Toto (Girl Goodbye.) It is the only feature in the Quadra that I can think of that doesn't imitate Odyssey or String Ensemble.

I wish I could remember the name of the podcast that joked about a modular synth album called 100 Consecutive Minutes of Arpeggios... Long story short is that the idea of arps for chords is really old and has been in electronic music for as long as there was such a thing.