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ChipMusic.org / Forums / Posts by chunter
Steering back to topic, there is no right amount of time to work on a project.
Release zero and Everything Must Change were RPM challenges, so I spent 28 days on them. Rainy Day and Wedding EP were based on ideas up to 3 years old and were polished over about 4-6 months.
In the half song I listened to it sounded like an 808 sample (both snare and hat alternately) that was copy/pasted (did 808 have a "roll" key? I don't think so but only saw one in person once) so that there is no space between the retriggers. This means that the sound you repeat must have a very heavy attack (or the new triggers won't be audible and you'll hear it as "shhhhhh".)
The example I heard sounded like it was retriggered rim or snare but the spirit is the same. To me it sounds like Master P with a circuit bent 808 and fewer samples.
Sadly, the song I found had nothing to do with transvestism.
"unconsciously ripped" or not, Ordinary Day is absolutely beautiful
Thank you!
There are a lot of things to respond to in this thread, I may forget something....
I think all of my collaborations have been in lyrics, not the music itself. In a past life of sorts, I had a producer ask me to add bridge sections and things, but he didn't provide actual material, he expected me to come up with it. I was taught two related things in that part of my life-
1) Never tell your audience that they have interpreted your work incorrectly. They become fans because of a fantasy built up around you and your work, and you must do everything in your power to maintain it (as long as the fantasy is healthy, of course.)
2) To ensure this fantasy is possible and can be nurtured, be careful not to over-assert in your words, be they lyrics, title texts, concepts, whatever. The more specific your image, the less likely another person is to latch onto it, however; if your lyrics have few nouns and fewer pronouns, and are abstract and terse, a listener can imagine them to mean just about anything.
In summary, to grow the largest possible audience (if that is even your goal,) you must allow them to be wrong as often and in as many ways as allowable.
It's okay to feel like someone you admire is doing "better" than you, but try to remember that they don't stop improving just because you think you want to catch up to them: the only way you can catch your idols is if they stop working (or take a direction that no longer relates to you.)
I don't believe that art is some higher form of communication- if it is such a great thing, why do we spend so much time getting it wrong? I only speak for myself, of course, but I had a serious psychological block that came from the belief that my art was some kind of higher calling. Neither life not art are contests unless you want to artificially (root word "art") turn them into contests for yourself. Performance is communication, and art can communicate things in a limited way.
I come up with stories, titles, and concepts after the music is done, except for the wedding bit which was created for an event.
Also, for zzzv, an instrumental protest song:
By untouched I hope you mean "unmodified," I haven't seen a mint condition Commodore product since... before I was old enough to drive.
I try to make what I like listening to, but in truth I work on a song until I'm sick of hearing it and then polish it for release.
When I visit my older music (as in Wedding EP) I am part surprised and part embarrassed... specifically I don't compose like I did with Ordinary Day anymore.
Ordinary Day is the only thing I've made where I felt like I almost wanted to cry as it reached its ending, then I realized I unconsciously ripped its ending form from Supper's Ready by Genesis (as in the prog rock classic) which I responded to in the same way when I first heard it as a teen. Otherwise, I feel relaxed from my time off from work, I guess that's to be expected.
In other people's music, the last song to have me feel a strong emotion was Handlebars by Flobots,
I'm not the sort of person to emote in an extreme way, not very often, it's probably just introversion.
This shot was best http://chipmusic.org/forums/post/124074/#p124074
It would have been sufficient for the OP to have just put the video in "releases" or whatever...
I have nothing against experimentation but it should be done with company (so someone can take you to the hospital if necessary.)
If you need a foreign substance to create well or enjoy your own music, you need a doctor. "Foreign substance" includes beer, sorry (not really) to anyone who disagrees.
I didn't need drugs to learn that there is no good or bad music, there is only music I like and music I don't like.
Roland Stereo Cube and Cube Street are popular choices. For guitar I have a Vox DA5 but it colors sound too much for chip and synth sound (to me)
Mice were not typical in c64 era, so you probably won't need one, but the psu's and disk drives and all, when combined, are heavy. I strongly recommend a disk replacement of some kind and there are quite a few.
Those keychain hoops can ruin the tape if it's not left at the leader.
If you liked the idea minus the lack of credit or credibility you can make your own cassettes just as easily and sell them...
Sorry for those who got burned.
... also chunter are you a vocaloP?
No, but I use UTAU sometimes...
...and once made a song with Momoko Fujimoto (Momone Momo's voice donor)
A few months ago some friends & I were talking about 8-bit music and I decided to look more into it because I really liked how it sounded. I found lots of sites about it, learned more and downloaded a lot of chipmusic. I found this site on one of my later searches.
I'm glad you liked what you found.
It bothers me that there seems to be a disproportionate amount of musicians compared to listeners/fans on this board, though for contrast, it bothers me that Vocaloid boards seem to have more fans than musicians, but anyway....
Pop, or what is popular is subject to a certain degree of measurement. The bop and post-bop jazz Minusbaby mentioned is descended from the jazz of the 30s and 40s which one could say was simply pop. For simplicity, I've taken to calling my music instrumental pop, but I know better than to believe I'm going to make a record that charts in Billboard, it is a different measure of "popular" that I am talking about.
Chipmusic has already had moments of popularity that have come and gone, I'm sure there will be more if people keep making music in this way, but...
Borrowing an idea from KLF's The Manual, if you think you want to chart but don't think the songs that are charting are works of genius, you won't chart. Since I don't really care about the music of Laughing My Fucking Ass Off (DJs should be required to pronounce their name this way, especially on the air) I am pretty sure I won't chart, but I know I had my window of opportunity for that sort of thing.
Well I'm glad I was able to get a discussion going.
I also didn't know that those songs weren't at all chiptune. But y'all would know better than me, I don't make chipmusic. It just sounds very similar to the chipmusic in my library and it's definitely the most chippy sound both Madonna or Britney have ever recorded, and way more chip-sounding than 99.9% of big pop today.
If you don't mind, how did you learn about us, both the chipmusic.org board and the style of music making?
ChipMusic.org / Forums / Posts by chunter