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ChipMusic.org / Forums / Posts by boomlinde
Topics by boomlinde
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tRasH cAn maN wrote:But isn't Nitro's idea just to ensure you don't drift in sync? It won't help for any jitter or wonky sync. If the port can't throw an interrupt you're still a slave under the 60Hz clock.
Yeah, you're right, as long as the player/synth is interrupt driven one will have to deal with 1/60 s jitter, but my idea is that the player/synthesis tick routine could be called while polling the joypad port outside the interrupt whenever external sync is enabled, leaving only the interface (screen drawing, other joypad handling) code in the interrupt.
Then, let's say that the interface code in the interrupt takes 1/4 of a frame (in raster time) - then it's down to a much more acceptable ~4 ms jitter.
EDIT: and as Neil mentioned, having separate rates for the sequencer and for synthesis complicates this further 
Also
I'm fairly sure you can't read the control ports arbitrarily
nitro2k01 has got the best idea so far, but if the irq takes too long it will still be jittery - probably not close to as much as in the original approach, though (16 ms jitter?).
chunter wrote:Many artists don't understand the statement, "sure, that's cool, but most people won't want that."
It's probably not so much not understanding "sure, that's cool, but most people won't want that" as it is disregarding that statement completely for the sake of artistic integrity and purity.
Artistry, unlike any of the licentiate professions that have been mentioned in this thread, isn't necessarily about satisfying the needs of other people. It's not about directly saving lives, protecting the innocent or building better homes. It's a form of free expression, and I think that it's quite ridiculous to compare this basic human right to the responsibilities of being a medical doctor or a lawyer. As an artist or musician, you have no more rights or responsibilities in what you produce than any person exercising their freedom of expression in any kind of utterance.
saskrotch wrote:you can get into semantics but there are composers who write without playing an instrument, and musicians who only play what other people have already written.
This thread is all about getting into semantics 
I don't really see what you're getting at here, though. Music still need both a composer and a performer, whether the performer is automatic or the performed work was written 200 years ago.
Beware wrote:it's strictly an academic term
No, it's not. Where did you get that idea? If it's strictly an academic term, I'm sure it has to be well defined, so if it's true, you ought to be able to cite a definition from a reliable and authoritative source supporting your notion. What level of theoretical knowledge do you have to have to be able to call yourself a true musician?
ovenrake wrote:I suppose if musician meant anything, it's an umbrella term for someone involved with music.
My point exactly, which is why I'm surprised that you agree with saskrotch that "musicians are people that play instruments."
Saskrotch wrote:to me musicians are people that play instruments
people who write music for other people or things to perform (computers and such) are composers
I don't see why a composer would be any less of a musician than a performer. Both are involved in creating music, and without either of them there would be no music.
ovenrake wrote:was about to say this
I don't want to see any confusion between performers, composers, producers, dj's, and musicians.
What exactly is a musician if not any of these other things you mention?
godinpants wrote:When i graduated from uni i told everyone i was finally an artist, and forbode them from practicing art until they were properly qualified. They said it was a stupid idea.
But you can't call yourself a doctor or lawyer until you've done the necessary study, why should music and art be so lenient on who can be what?
Yeah, I agree that it was a pretty stupid idea, to be honest. Quite a few great artists never went to any kind of art school, and frankly, thousands of people around the world without access even to the most basic formal education would probably create art more genuine, beautiful and technically skillful than you or anyone you graduated with. Study can take many shapes besides university or college courses.
It's hard to answer objectively, so I'll just settle on saying that anyone who partakes in the creation of what they themselves honestly consider to be musical sound is a musician, at least at the moment they are doing it.
Zan-zan-zawa-butt wrote:Do you need to have learned to read music? (I know zat'd eliminate me...)
Just as a side note, I think that everybody can read music in some form (some forms less ambiguous than other). If you mean western sheet music, it has only existed for a few centuries, and I think everybody will agree that music and musicians must have existed before any musical conventions or definitions.
Or maybe you can generate interrupts from joypad presses by other means, by moving sprites to collide or something. I don't really know how the NES works; just throwing out ideas.
neilbaldwin wrote:I've been doing some experimenting with PR8. I've made it so that instead of a counter to advance the step sequencer, it can sit and wait for a button press on controller 2.
I'm just thinking out loud here but wouldn't it be pretty simple to rig up a MIDI->electronic pulse cable and then in your external sequencer, assign a MIDI control to send each time you'd like PR8's sequencer to advance a step and it should just work?
I guess you'd have to create a "dummy" track in your song that just sent out constant MIDI messages to keep PR8 moving but that wouldn't be too much trouble would it? You'd also have the advantage of it staying perfectly in sync with your tempo changes.
Not sure about the difference in resolution. I'm still only polling the second controller port @ 60hz but unless you've got an insanely fast track it should keep up shouldn't it?
Just want to use this thread as a place for ideas as I really need to get this external sync lark sorted, for Pulsar too.
If you work with MIDI sync at 24 PQN (which maps nicely to tracker speed 6, assuming every step is 1/16th note), 60 Hz isn't enough for anything over 150 BPM, I think. I've done experiments with joystick port syncing on the C64, but there I used a tight loop that was pretty much only polling the joystick port. Too bad, because the C64 is able to make an interrupt upon the fire button being pressed (for light pens and guns), but only once per frame . Can't the NES do something similar for light guns?
Great! I'm listening through it now for the first time. A definite buy. Any chance of also getting a rom dump with the recorded release?
shotgun breakdown wrote:Hmm...I looked into this, and though I have XP I found a mixer for my soundcard. It doesn't seem to affect mic input though...
Yes, that's why I said Windows Vista and Windows 7. Windows XP only has a mixer (though I've seen some drivers with simple treble/bass control), while Windows Vista and Windows 7 have what you are looking for - an equalizer.
Yes, you can! If you're using windows Vista or 7 I don't think that you even need a DAW - there is a built-in equalizer for the output stage.
Does it have MIDI in too? I mean so that you could eventually plugin more keys
This stuff is made for FM! Count me in, please. My idea is to take the orchestral stuff from the new movie and down-tone it to Wendy Carlos style using FM.
Well, with a bunch of them you could basically make a computer controlled patch grid and sequence it all through a MIDI/serial input. As for potentiometer controls, I'm pretty sure that there are digitally controlled pots as well.
My own arduino is set up with 4066 switches to act as an atari-style joystick right now. I can control games on my C64 and MSX through MIDI, and I've made some programs for these computers for visualization and sounds.
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ChipMusic.org / Forums / Posts by boomlinde