chipmusic.org is an online community in respect and relation to chip music, art and its parallels.
You are not logged in. Please login or register.
ChipMusic.org / Forums / Posts by fluidvolt
Thanks for all the kind words everyone! I'm happy to hear 'em 
Just out of curiosity, what program did you use to compose the album?
I used an old version of FL that still works on my old computer. But only 'cause I'm used to it, I didn't really use any features that you wouldn't find in most DAWS or trackers like OpenMPT. Anything that can use soundfonts will get you what you hear... here.
Thanks again!
Yo guys, it's been a while. I wrote a free album using nothing but Mother 3 sounds -- it's folky weird jazz stuff! The soundfonts I compiled are up there too if you wanna try writing your own tunes with 'em.
Clay Memory shows the idea of wabi-sabi in a musical form, an organic sound with a temporary beauty of childlike, innocence and happy vibes. Music-wise, it is a combination of jazz, folk and pop, passed through the forms of impressionism and weirdness. To create this album, fluidvolt has compiled and organized the soundfonts with over than 300 instruments, based on the sounds of a classic Game Boy Advance game Mother 3.
Album art by Rufus Blacklock.
This is really cool! Is there any way to get velocity linked to note volume? Maybe I'm missing something obvious, but it'd be great if that was in there.
Good job on this though! I love lo-fi FM sounds.
Bump. This is so awesome! Really sorry to hear the OP couldn't get it working but many, many thanks for spreading the news. 
I've been looking for a crunchy, lofi FM VST for years.
(I wrote a little tune to try it out... holy hell is this a great plug-in.)
Chill out n00bstar, there is some truth to UncleBibby's words...
This is coming from someone who absolutely loves analyzing music, it's fun and can teach you a lot about how music is structured--but comparing music theory to the laws of gravity is a bit of a stretch. You'll find that music theory doesn't really analyze Eastern music well at all; a lot of it deals with very subtle modal stuff that the West mostly ditched with TET. And it's barely catching up with poly-rhythms, something Africans have known about for centuries and centuries. Not to mention the 20th century composers such as Debussy, Scriabin, Ravel, etc., strict theory tells us that stuff really shouldn't work... but it works, exceptionally so. And there's no real way to build compositions like theirs from scratch using theory.
I've said it before elsewhere, but I think of music theory as mostly a reverse-engineering of successful techniques in revered compositions. But every single trailblazing composer has been called a lunatic and a heretic by his era's music theory. So writing stuff that makes you feel good could in fact create something that couldn't be arrived at with theory. Just something to mull over. My personal credo is write first, ask questions later (optional). On the other hand that doesn't mean theory's worthless, and you can learn a lot via analysis... Don't mind me, just playing the part of both devils here
More on topic, I didn't see it posted but it's extremely common in blues-rock to substitute a bVII chord as a surrogate V; plagal cadences are used a lot too. And I can't believe no-one's mentioned tritone substitutions yet. Those can be really fun! Blues is especially tricky though, most experienced bluesmen will sing and play notes between the twelve-tone western set (Robert Johnson is a master of this), making the search for an all-inclusive scale sorta pointless.
Though, jumping off from that, I find that melodies can absolutely bend harmony to their will. They're delicate and can be imprisoned by a premeditated turnaround (it's why I'm wary of writing progressions first), but you can lead from any chord to any other and it will work--with the right melody. To say nothing of using a walking bass-line or slash chords to connect harmonies tighter (which is still a kind of melody). Melody is king, pretty much.
Fun topic. I agree with the others who said this, there needs to be more discussions on topics of this flavor.
Aww, thanks everyone, it's great to hear people are still diggin' this
subPixel: wow, thanks for that, means a lot to hear you say that. I was wondering what you thought of it!
sleepytimejesse: haha yeah! 
Chainsaw: hmm, that sounds interesting... wonder what it's about. And thanks for the support!
Thanks guys! I'm glad people are digging this.
Chainsaw Police: Thanks! It's one of those things that I've been experimenting with for a while, and it is overwhelming at first but it can add a lot to a piece sometimes.
Stevens: Yeah, timbre was a big focal point in this, glad you noticed. As for your question: look no further than SubDrag's awesome (and aptly named) N64 Sound Tool. PM me if you'd like some pointers but it's pretty easy to use.
Fearofdark: Thanks man, that's exactly what I was going for. Rubato and dynamics tend to be bypassed for the most part but it's something I keep coming back to, and an interesting element to liven up old sounds.
Telerophon: Thanks
Thanks again for listening everyone!
Did you know today is the 150th anniversary of Claude Debussy's birth? Here is an eight track album I cobbled together in tribute to the great composer.
The aim here was not necessarily to try to sound like Debussy (not that I could even if I tried), but to keep his compositional precepts in mind--such as attention to timbre and dynamics, or experimentation with unusual tonalities--while writing things with my own flair; styles represented vary from funk and jazz to folk and orchestral fare.This is mostly SNES based, but there's some NES, N64, and even some 1-bit samples to mix things up throughout. Hope people enjoy.
Hmm, great question. Nintendo tends to be quite holistic when it comes to design, so while the 2A03 is not an incredibly sophisticated chip even by that age's standards, perhaps they saw (hoho) the value of contrast that a triangle channel would bring as opposed to a saw? Interesting question no matter what the answer. Which makes me wonder: is there any other soundchip that has a set-in-stone triangle channel, barring chips that can sample or have custom waveforms? None comes to my mind...
Although I'm by no means an expert on the subject, I've ripped samples from quite a few SNES games. The only times I remember seeing recurring samples are throughout games made by a single company (but maybe I just wasn't paying enough attention). For example you'll find the same trumpet throughout a lot of RARE games, and HAL used the same strings sample for a lot of their games if I'm remembering correctly. So maybe this is just a case of in-house composers sharing samples, or the same composer working on multiple games, rather than a standard pack? I'd be interested to know if there ever was such a thing though.
Hell yes. Awesome concept, awesome execution. Gonna be jamming to this for a while.
Took a shot at this, here's two attempts;
Albatross Valley, a dramatic western tune.
Sparrowroad Showdown, a Spanish-tinged showdown tune, which picks up at about the :40 mark in case you need a quicker rendition.
Props for even mentioning Majyūō. I could count the times I've seen or heard someone mention it on one hand. Classy choices all around.
Very interesting series Shiru, and thanks for taking the time to translate these. It's fascinating seeing how different things were for Russia.
Great job Delek, I haven't kept up with this for a while and it looks great. It's amazing how much Deflemask has improved in such a short time! Downloading 
.
Awesome job, sounds great so far. Can't wait to try it out when it's completed!
ChipMusic.org / Forums / Posts by fluidvolt