337

(29 replies, posted in Commodore Computers)

Just bumping to tell you guys that these are being sold now, fully assembled, in kits or as bare PCBs: http://devsound.se/products-page/sbu

I'm beginning to suspect it's a matter of how we put it rather than much of an actual disagreement smile. I agree that whatever the cost of a wavetable, a triangle must have been an obvious choice over a sine for reasons that you already mentioned. Though, if they'd wanted a reasonable sine, I think they would have gone for something more complex than sixteen step 4 bit wavetable. Say, 6 or 7 bit output, double the period increment rate, and a 32 step half-sine LUT fed by the output of the existing triangle circuitry.

I didn't know about the length counter LUT. Seems like the designers went crazy over some very specific use cases.

I never said it would be "very" significant (if it's a matter of a 4 bit inverter vs a tiny adressable LUT), but I think that the added complexity vs. what you gain in sound quality made it an easy choice for the chip designers even if they'd preferred to have a sine wave. Chip surface was a scarcity, and since the APU shared die with the CPU and other circuitry, I assume the designers were instructed to cut corners when possible.

I don't see what significant simplifications you could apply to a 16*4 bit sine wave table. With a sine wave you could get away with storing a quarter of it (as they did in OPL type chips), but then I think you'd need two more inverters to reassemble it. What other kinds of simplifications do you have in mind? What is a generic ROM?

If you disagree on the use of the word ROM (which is exactly what it is), can you at least suggest an alternative?

rainwarrior wrote:

Lookup tables are fairly simple to implement as logic, I don't know what you mean by "sparing any ROM"; I wasn't talking about a lookup table like you would implement in software. At this scale, it would be similar in logic complexity to things like counters, and I mentioned them as a practical way to do a 4-bit 16-stage sine wave in comparison to the 4-bit 16-stage triangle. My point was that complexity was not the reason they didn't pick a sine wave; they didn't pick it because triangle is superior.

I am saying "sparing any ROM" because one of the peculiarities of a lookup table design is that you need a table to look samples up in. This would most likely be implemented as ROM on the chip surface, and definitely using a type of memory. Do you disagree? Either way, you would still need phase counters, so yes, there is complexity added by a LUT design. Also, sixteen samples at 4 bit resolution is distorted to the point where the difference to a triangle wave hardly matters. That's still only half the triangle time resolution.

But I agree somewhat with your point. For some extra chip area they could have done a LUT design. With some extra bit depth and some good table size they might even have made it reasonably resemble a sine wave. But why would they? Sines aren't as musically versatile unless you have a lot of them or some complex modulation techniques.

If you really want to know the particulars of the triangle implementation, you might learn how to read the Visual 2A03 project. I personally don't have the skill/knowledge to do it quickly, though, so I've kind of held off on attempting to gain knowledge that way.

That's a pretty cool thing! I couldn't read it at gunpoint, though.

The SID is a great chip, and that's a cool article (thanks for linking it). Its design is drastically different though; particularly how it uses one underlying binary counter to output the 3 different waveforms by changing how its bits are output. (Compare to the 2A03 where each channel has a single purpose.) A large sine wave LUT with resolution like the other 3 waveforms would be impractical for this for sure, but a 4-bit/16-step sine wave LUT would probably have been quite doable actually for the SID -- though it would have been pointless to implement such a thing.

The SID is a different design for sure, but I have no doubts that the basic idea of waveform generation by simple logic applied to the phase accumulator output is similar to that of the NES.

Anyway, "doable" is far from the only concern when designing consumer electronics. Production/design cost and time probably weighed more in both the case of the SID and the 2A03 APU.

As for no saw on the NES, short pulses sound kind of similar anyhow. All in all, I think using a triangle together with the pulses is the more musically versatile solution.

Rainwarrior, the thing with using pulses/saws/triangles over sine waves is that you don't need lookup tables. By feeding a ramping phase accumulator (this is a simple counter that has the frequency register value added to it every some division of the cpu clock) directly into some simple logic circuitry, you can generate those three basic waveforms without sparing any ROM (the triangle as Shiru explained). There is a nice writeup on how exactly this was done on the SID in this interview of its designer: http://sid.kubarth.com/articles/intervi … annes.html.

Chantal Goret

344

(121 replies, posted in General Discussion)

r4c7 wrote:

But even when you are making a single song, that is still practice. Sometimes spending months on one song can help you practice other techniques. When you first start out, you take a while to finish a crappy song. By finishing a song, you may gain skills that you wouldn't by not. As you get better, you don't need to put as much time into making a song, but during your early stages you do. This all depends on a lot of factors, so it can't really be answered. I feel if a song isn't finished, then you shouldn't move onto another. It's like leaving a Rubik's cube half finished and then trying to solve another up to that point.

You don't need to work for long periods of time on a single song to improve your skills. Much like any puzzle analogy you may come up with, working on multiple problems at once will sometimes be the most productive way to attack them.

345

(121 replies, posted in General Discussion)

Frostbyte wrote:

Speak to any jazz musician, and they spend years upon years learning how to improvise...and those are mostly not original compositions. Jazz works a lot differently haha.

I guess you are trying to say that when estimating the time spent on a composition we should include our whole musical history as well.

I also think that not only does time not relate to effort, but effort isn't necessarily related to quality either. Some people are naturals, and some will die still sucking.

346

(97 replies, posted in General Discussion)

NUCLACE wrote:

It's 2012, and people still care about labeling music with the correct genre(s)?

What made you think that would go away with time? Why do people care about using the same language at all?

To stay on topic, I love dance music. I can dance to a lot of shitty music I'd rather not listen to normally, just for the sake of dancing.

Big music is supposed to take up a lot of space. I want a digital release with the bits carved into a gigantic obelisk.

I like digital, but I can appreciate the ritual of taking a disc out and putting it on the platter, or rewinding tapes or whatever.

For a second I thought the title said "WHY WOULD ANYBODY WANT TO PLAY IN SAN ANTONIO?"

Carry on.

350

(8 replies, posted in Software & Plug-ins)

Krubbz wrote:

You mean like samples and synth patches?  Is there anything that sounds chip-like in Reason?  I've not heard anything.

I dunno, have you heard Disasterpeace?

351

(87 replies, posted in Software & Plug-ins)

Most of my stuff never leaves the computer, because I usually just render it straight from the tracker and push the gain until I can hear the clipping in Audacity. For the stuff I actually record, I use a Zoom H2.

She was hitting on you