Current (noted as I) is equal to Voltage divided by resistance.
I = V/R; V = I*R
That's how voltage works!
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ChipMusic.org / Forums / Posts by jefftheworld
Current (noted as I) is equal to Voltage divided by resistance.
I = V/R; V = I*R
That's how voltage works!
Where do you get the 125 V figure from?
Edit: The cable is just a cable. The voltage printed on it is the maximum voltage it's rated for, apart from that it will just carry the voltage from wall socket. There's nothing magic in it that will make it output 125 V if connected to a 120 V socket.
Yeah, if your mains is 120V, then you're 100% fine. If the mains voltage is exceptionally low then you might find the adapter having issues outputting enough power but aside from that you're safe.
What Kitsch-bent and most people don't mention is that the hum can be quite loud (depending on a lot of factors) and some people may find them more annoying than others. I've heard a unit that was unbearably bad and others that didn't really bother me (but bothered their owners).
That said, they are much nicer looking. With good installation and a bit of faraday shielding you might get away with little to no hum.
This is the voltage going into a gameboy battery pack, not the game boy itself.
The battery packs were made around the same time, right? It's the same issue/non-issue. Technically, the power regulation circuits should be tolerant of that small a difference (since mains power can fluctuate by that much and more in some areas) but since it's old it might not like it much.
At the risk of being blamed for your battery pack dying, I think you're probably safe.
Actually, in my experience that small a difference is within tolerance with almost any electronic devices. However, given the aged nature of something like a Game Boy it's hard to make any guarantees. I've been running my Fami and SuFami in the same way and neither has died or exploded, but that doesn't mean it's not putting a little bit of extra strain on them.
Personally I listen almost exclusively to tracker music, be it old democene stuff - 4-channel MOD or XM modules - or chiptune music. I listen to it daily and I have no sense of pop music of any era, even the era in which I grew up.
That said, I'm pretty sure there's a big part of the chiptune audience who are just looking for nostalgia and don't see the same depth and complexity that I do. I have a very wide appreciation for chiptune music and I'm not a 'purist', but if I hear something that's totally not chip I generally won't give it a lot of time if it claimed to be so. I'm a lot more open if the creator was more honest about the genre (but even then, I'm generally not likely to enjoy something that doesn't fit with my aesthetic).
However, I don't think the average person is like me. I think for most people, people who have a right to call themselves fans of chip music even, it's not about a deep love of chipmusic but about their own personal ideas on aesthetics and nostalgia.
Who knows, though. It's an interesting academic thought, but I'm not really too worried about it. People can do whatever they want with 'chiptune' because it won't chance the way that I make, perform, or listen to music.
On an only tangentially related note, I seeded "The Reality Chipmusic Love Industry" ages ago when you asked for seeders and only recently got around to really listening to it as a whole. Totally worth the effort in seeding!
Also: Since you can render to wave, you can totally use it to render piggy synth material on the go.
This is exactly how I use it. I know it can do a lot more than I'm using it for but I prefer working in LGPT.
Here's a question; what are the relative volume levels like on the various PSP models? I have a 2k model and it's quite quiet with most headphones. It's not unworkable, just a bit quieter than most modern electronics.
I can boost the volume above 100 but it obviously begins to clip. It's not an issue when running it through a mixer as I can boost the signal but if there volume levels are different on different models that might give one an edge over the others.
Did I mention that it's free? ^__^
If you enjoy it then pay what you can, money goes to the wonderful Toy Company collective. They do lots of shows, events and radness over in Montreal!
So much great music from so many talented musicians! Totally worth checking out!
Download here:
toycompany.bandcamp.com
***FEATURING***
theskyis256k
Das mörtal
Fade Runner
Graviton Flux
deadbeatblast
Dyspraxia
XC3N
Xyno
Oxygenfad
Pocaille
Bananablob
Battle Lava
PixelPerfect
jefftheworld 5
DJ-PIE
Le Matos
Procyon Lotor
Buttonsinker
PaK-Zer0
Dome18
Aliceffekt
The best tip I could give is this:
Even if you can't dance, be the most energetic person there. Have fun, people can tell if you're having fun and they'll feed off it. It's awesome if you can do something of substance on stage, but you've already written a bunch of awesome music and it's really about getting people to enjoy themselves, after all. Talking to the audience and being friendly is great, razzing them and being 'mean' can also be great. It's all about the vibe of the room and about your persona or personality, learn to identify the dynamic and play to it. Knowing how to befriend the floor in the span of 4 or 5 minutes is the key to a good live show!
So that being said, anything you want to bring to the table should be adding to how much fun you are having, first and foremost. If you know that you'll go wild with a keyboard solo, go for it! If you think you'd enjoy twiddling knobs, make that your thing! If you would rather crowd surf or pass a mic around the room or fight a guy in a lion costume, those are all perfectly viable. When you're in the studio, it's all about musicianship and composition. Those things are probably as much fun to you as they are to me, or else you wouldn't be here, but when it comes to a live show everyone has fun in a totally different way.
I don't think Jimmy Hendrix would have had much funny getting on stage and pressing play on an 8-track but that's because when he played you could see the love and passion pour out and audience eat that up. That's the whole reason to see a live performance, it's about getting a little bit more than just the music. They already have the music on tape or vinyl or mp3, they want you!
TL;DR: Be the worst dancer there, then nobody will be afraid to dance.
The click is mostly unavoidable with most Game Boy models and most LSDJ versions (the v4.7.0+ "antispike" fix might reduce some of the click you get and using different motherboard revisions sometimes helps as well). It won't be very clean, though. The sonic qualities of the clicks mean they easily masked by other sounds, but if you want the note to play by it's lonesome, it's tough to avoid. Slowing down or speeding up the rate at which the frames change can sometimes help.
As for getting more resolution to your volume adjustments, you'll need to learn how to use the synth screen and wave editor. You're currently setting the instrument up via the synth screen, but if you go into the wave editor you'll see you probably only have 5 frames that actually contain audible waveforms. In the wave editor you're going to want to draw as many frames of the wave as you need or want. Obviously, each one should be slightly quieter than the previous.
Don't forget, numbering for frames is 00-0F for the first synth, 10-1F for the second and so on.
EDIT: Any time you edit on the Synth Screen, every single wave frame of that synth will be immediately overwritten reflect those settings. You can use the Synth Screen to get a good starting point, but don't touch it again after doing manual adjusting on the Wave Editor screen! It'll silently overwrite any changes you made.
Well, if you get around to it. Here's my last album. The special edition CDs just came out, so it'd be good timing. Hope you enjoy.
If you load samples in, the Fxx command can be used to do a lot of fun chopping!
My name is a pun based on bits or something.
**NOTE: I'm assuming here that you understand the basic use of three things; the Synth/Wave Editor pages, tables, the Gxx command as it relates to tables. Aside from those things, this is super simple. If you have some questions on those things, just ask.**
In LSDJ the wave channel doesn't have a traditional ADSR-style release. The E command is mostly useless for the wave channel, giving you only the range of E00-E03. That is; 0%, 25%, 75%, 100%. Throwing that into a table (perhaps with a GXX command to alter the speed of the table) might be enough for a quick release, but if you want a slower release it'll sound awkward. However, if you dig into the wave editor and bust out some tables you can get the desired effect pretty handily.
Each wave channel 'synth' in LSDJ has 16 'frames' which you can edit individually. You can generate these waveforms automagically using the 'synth screen' or manually edit each individual frame using the 'wave editor' screen. I generally get it roughly where I want it with the 'synth screen' and then go in and edit the waveforms manually until they sound as desired.
LSDJ can animate between these automatically to form a dynamic waveform. You can use this technique for pulse width modulation, to acheive double or half period waveforms or to get some deep control over the ADSR of the wave channel. The play, length, speed and repeat options are all settings for automatically animating your frames and often will do the trick, but if you want more control there is always the trusty table.
You can create several frames of wave 'animation' which will represent the waveform at various volumes - the number of frames you create will affect the resolution of your effects, meaning a single synth will allow for 16 step volume effects, not bad - Utilizing the frames you created is easy; first set the play option of the instrument to manual. Now, create a table and use the Fxx command to switch between frames as desired. A Gxx command can be used to alter the speed at which the table is played.
One neat tip that I've discovered, the F command is not bounded by the current synth. F10 (hexadecimal for 16, which is outside the 0-15 range that represents your frames) will actually switch to the first frame of the next synth. In this way, you can tie together two synths and get a waveform animation that's 32 frames long! I've never used anything longer than that, but it's possible and could be a great way of getting some really complex waveforms out of LSDJ.
ChipMusic.org / Forums / Posts by jefftheworld