herr_prof wrote:

I use both lets fight. You know you can just treat a chain as a half a bar at a 3/3 groove right?

Meet me at the tether-ball court after gym class, shrimp (ง •̀_•́)ง

Just so y'all know I'm not saying there's anything wrong with 3-3 in general, I've written more than a few songs that switch to 3-3 when I need to use 32nd notes. But defaulting to 3-3 when you could totally pull off the same thing in 6-6 with maybe a few clever r, d, & g commands is a major waste of chains which is a big problem if you're writing music with a decent amount of variety. I know Vince Kaichan uses 3-3 and I've heard that he often has to spread his songs over 2 or 3 song files which sounds kinda dreadful.

Lol I was (mostly) joking about the 3-3 & 7F stuff. I've heard of people using 3-3 in the wav channel and 6-6 in every other channel for that reason (sounds to me like that an0va track is probably doing this?). I guess that makes sense, but I find it really hard to make a decent kick drum in only 3 ticks, and I rarely ever find myself needing to have a kick and bass on the same note (imo having the 2 loudest, bassiest instruments playing at the same time isn't a great idea in terms of dynamics), so I've always been an advocate of 6-6. And the 7F thing really doesn't matter but I've always used 00 because it's closer to the majority of chain numbers, especially early in a song (which usually has the far more empty chains)

First of all, ew why do you use 3-3 groove that's almost as bad as using 7F for your empty chains.

Second, something I often do and something I think that song does is use noise instruments that take a tick or two to register. When the hi-hat switches to quarter notes, you can hear that they sort of have a "flam" effect because they start out with a lower pitch and a tick later switch to a more open pitch (which might be hard to pull off in 3-3). This keeps the hi-hat locked into the groove while making it feel like it's a bit behind, and also it makes for a more interesting hi-hat in general

Third, mixing and sound design are everything. He's using fairly punchy/abrupt kick and noise instruments, and all the other parts are mixed down a little to give the beat room to sing. Punchier percussion isn't always better, but it often gives you the freedom to make better use of dynamics, and stuff that makes good use of dynamics is usually more groovy.

Fourth, I think the background arps help more than you might think. Arps have this weird thing where, if you use them fast and rhythmically like that song, they make sense while you're listening, because the brain realizes they're supposed to be one chord. But you also hear certain important notes triggering just after or before the song's subdivisions, so they have this weird effect in making the groove sound a little more "stuttered".

Finally, I think the song is composed well enough and with enough variation in rhythm to give the groove enough to play with so that it never falls stagnant. It's easy to hear a rhythmical loop in lsdj and think "oh, this will never go anywhere", but if you write around it well enough and mix things up from time to time, I'm sure you'll find yourself liking it a little more. And cool tip: try writing music with the volume turned pretty low. If you can get it sounding groovy while it's quiet, it'll sound even groovier when it's loud.

Delek wrote:

Yess! We are getting so close so fast!
Cooshinator, this three songs you have posted are exactly what I'm looking for!

Cool, I think I understand what you're talking about a little more. How about these songs? I think japanese music from the 70s/80s really shows the formation of this style.

https://www.youtube.com/watch?v=F-xf5Pt1NrA (Edit: whoops, this is the wrong song hmm Most of Yamashita's good shit isn't on youtube. I think https://www.youtube.com/watch?v=r6Q8GNy186s works a little better tho, mainly the chorus)
https://www.youtube.com/watch?v=fRNobgLHRzA (Again, there're better examples from Matsushita but none are on youtube)

Also, from what I've seen, that sort of feel has kind of become a trend in recent japanese & western electronic music, and I definitely think it stems from electronic music artists that grew up listening to japanese video game & anime music. Some examples:

https://www.youtube.com/watch?v=ftSUchAdVTE (I think this one gives more of a gospel vibe harmonically, but the fast, almost cutesy instrumentation sort of pushes into the territory we're looking for)

Like what Imaginary said, I think what you're looking for is something that other genres have fucked around with, but not really exploited so unabashedly until it became a trend in japanese pop music. Although I disagree with him that it's all in the attitude; I really think it has something to do with melody and chord progressions that I could maybe explain if I knew anything about music theory.

My guess is that it has something to do with taking normal, "happy" chord progressions/melodies and sticking in sharps & flats in a way that begs for resolution, a little bit like this (https://www.youtube.com/watch?v=hJCI2jxrIq8). I've noticed that sticking accidentals in otherwise "happy" chords and melodies in my own music sort of brings out the feeling a little. Although I'm not sure how it technically differs from the similar but different vibe I get from certain american gospel, soul, & disco songs.

Also, I remembered this great video that touches on this: https://www.youtube.com/watch?v=QtPx6WdNM30

One last thing, I feel like playing a shit ton of snowboard kids as a youngin really made me have an attachment for this style and I think its soundtrack really fits under what you're looking for https://www.youtube.com/watch?v=zkH0qjQ8GNw

Holy shit this exactly how I've felt for such a long time; that element is something I've been trying to put in my tunes ever since I started writing music. I've found similar feeling some other music, especially in some jazz fusion & disco stuff, although to a smaller degree. A lot of 70s/80s japanese music has a huge jazz fusion/disco influence and I feel like a lot of their music since then has really indulged in that feeling that only comes out in bits and pieces of those genres.

Some non-japanese music that I think shows a little bit of what you're talking about, if only a little:

And of course some japanese stuff:

Also I was totally planning on covering "Rai-Rai Boy" sometime in the near future


(12 replies, posted in Releases)

Yo this release is fucking rad! I used to listen to your music all the time and I'm super glad to see you still putting stuff out!


(11 replies, posted in Releases)

this is way dope!


(6 replies, posted in Releases)

Yo this album is really dope! And it's named after one of the best beverages ever so what's not to love



(108 replies, posted in General Discussion)

Dance 6 by Peer
Dance 3 by Peer
Snow Burn by Fear of Dark
Golden by Trey Frey
The Horror by ˨ype
Comsten by Goto80
Water2 (Wetter) by The J. Arthur Keenes Band
It's Only a Doghouse, Right? by an0va


(4 replies, posted in Releases)

hella twee, my man. I thought this kind of chiptune died back in 2010


(8 replies, posted in Releases)

MBV is my favorite band as well and What You Want is my favorite song of all time so of course I love this. We need like an ohio mbv chipune club or something


(29 replies, posted in General Discussion)

do me !!!!!!

calmdownkidder wrote:

Alternative title - Literally who cares

lol I laughed


(1 replies, posted in Releases)

leftover tracks, unfinished demos, and b-sides from 2011-2014
3 hours / 42 tracks of jams from your favorite chip artist you didn't know existed


I think it's good if you're feeling sad and you want to vent that emotion somehow. A lot of people think it makes you weak or "less of a man" but I think it's fine in moderation