I'm not sure we're ready to take it to the next level yet. I mean, we barely know each other really... Let's wait a few more dates okay?


(12 replies, posted in General Discussion)

At home:
1) press play 
2) eat chips.

1)press play
2) try not to look like an idiot.

Remember... when in doubt, just look at the mixer and keep tweaking knobs on the muted channel....nobody will know.

Hi there.

The 500 isn't the easiest Amiga model to get started with since a lot of the more modern expansions for the Amiga are aimed towards later models. I suggest getting on Youtube and looking for tutorials on transfering data from your PC to your Amiga...there are a LOT of them. But a quick rundown is:

1) The Amiga CAN read 720kb PC disks (but you can't write Amiga disks directly on the PC)
2) For a ton of money you can buy an original A570 cdrom drive
3) A null-modem cable is a cheap and effective solution to get started

Check out videos by Dan Wood / Kookytech, they will help and you can branch out from there.

If you're stumped by all this and don't know where the fuck to begin and just want some disks to get started, hit me up in PM. I can set you up with a box of floppies with the all the basic shit you need to get up and running. Of course, you pay the shipping (I'm in Canada...) and the box of floppies (box of 10 usually goes for 10$ online, I have a few dozen boxes of unopened new-old stock here). The actual software and the time  needed compile the disks and write them is, of course, free of charge smile


(2 replies, posted in General Discussion)

sypher1590 wrote:

In my modding attempts. I've broken the ribbon cables of 1 DMG, 2 MGB, AND 1 GBC.

sypher1590 wrote:

I have little to no programming knowledge but a steady hand at soldering.



(0 replies, posted in Releases)

Phew....two years since the last release! Time fucking flies by when you're not looking. Quatre is a collection of most of the music I've done in that time. About half the tracks started as loops I made for various video games. I was quite happy with some of these loops but I couldn't stand the idea of releasing loops that fade in and out...so I started noodling around with them and make them into proper songs. The other half are just songs I made for the hell of it whenever I was able to sneak in a few hours of music making in between the various layers of tedium that makes up the bulk of the life of a 40 years old man with a wife, a kid, and a soul-crushing job tongue

Anyways... there's like 32 tracks in there...so have a go at it! Comments and critiques and hate-mail is always welcomed.

As usual, everything was done in Klystrack.

Get it here!

(yeah... I can't be bothered to find 32 names for the tracks. I think the numbers do just fine big_smile )

I think what you're referring to is something like this:

Sounds tailored to the low end of a song. Often short and punchy, but certain bass sounds are sustainable.

Sounds tailored to carry the main melody of a passage in a song. More often than not used in the mid to upper octaves because it pierces the mix well, and it establishes dominance over the other instruments.

Pads are sounds that can be held for a long period of time, often for as long as you hold down the keys. Think of pads as what strings do in an orchestra.  They are generally subtle in nature, used "in the background" to carry the chord progression along without taking too much place as to override the lead. They can have a slow or a fast attack, a monotone or evolving nature...it really depends on what the song needs. Pads are generally used to play chords.

Generally refers to sounds that mimic the amplitude envelope of a piano. Basically any sound that hits at high volume, then fades away.

These types of sounds are often atonal, meaning they carry little to no harmonic or melodic value. Think of white noise simulating ocean waves for example.

Anything that's short, that hits hard and fade away very quickly. They are mostly atonal sounds, but that is by no means a rule. There are in fact a lot of real world percussive instruments that are very much tonal. But yeah basically: drum-ish sounds.

Short for "sound effects" (of course). These are the weird sounds. Alien spaceship fly-by. Radio tuning between stations. Gunshots, etc.

Amazing stuff, as usual! That amount of talent is criminal.

kometbomb wrote:

Yeah no zips from n00bstar yet.

Aye... I've been lazy as usual. I just sent it to you!

I'll zip up the stuff I had made and send it over to you.

koub1s wrote:

for the examples/instruments, is it possible to get the ones noobstar packaged on his website? the host he linked on his website is down https://n00bstar.blogspot.ca/p/files.html

Oh... hey good call. I haven't checked that in ages. I guess you can poke at Kometbomb for him to include them in the standard package. He's been known to give in to pressure if you call him mean names.

Pads will make some difference. It's not night and day but it will help to mitigate vibrations making weird low frequencies in whatever material you set your speakers on. Especially useful if your speakers are on any kind of box-ish thing, like some desks or furniture. My own monitors are set up on big oldschool wooden PA speakers so I definitely need pads to avoid the PA speakers resonating with the monitors. However you don't really need to buy the space-age stuff manufactured under a full moon by naked virgin ninjas. Just get yourself some foam tiles and cut them to size. This stuff:

As far as warranty goes. Monitors aren't especially prone to break for no reason. Just make sure they're plugged into a surge protector of some kind. In fact all of your computer/studio stuff should be on a surge protector anyways.

While a good pair of headphones is a necessity if you plan on doing "serious" mixing, they will never ever be as helpful as a proper pair of monitors. You don't need to aim for a pair of Genelecs, even just a pair of bog standard KRK or even Behringers will get you better result than any headphones out there. Headphones are terrible when it comes to properly mixing low end or doing any kind of spatial work because you literally have each speaker stuck to an ear. Ideally you need to get both monitors and headphones, but the monitors will give you much more bang for the buck in the end. A mid-range pair of monitors is still better than the absolute best headphones ever.

About damn time yo!

Now. Only three more days to finish Gravitus before 2016 is over.. GO ON. I DARE YOU smile


(28 replies, posted in General Discussion)

Martin Galway is widely credited as the father of the chiptune arpeggio effect. His song for Kong Strikes Back is allegedly the first time the effect was used:

As far as similarities with other arpeggios in more traditional music, I think the chip arp stands on its own. The original intention of arpeggios in classical music was more along the lines of not wanting to put a chord with all notes played simultaneously and give more movement to a part but retain a certain simplicity because layering too many "unique" melodies over one another can become chaotic quickly. Whereas the original intention of the chip arp is kind of the opposite, you WANT to have a chord, but you just don't have the means to do it. Of course overtime it became such a staple sound that people when beyond emulating chords and started using them fairly creatively.

There's also a wide variety of chip arps. The "classic" one is three notes played quickly and it's probably the most used because that's what a lot of trackers are limited to with the three digit effect format. But simple two notes octaves are also common, although I tend to think of them more as a sound "texture" rather than an arpeggio since they don't really convey the idea of a chord. With software that allows you to program properly synthesized instruments, you usually have no limits to the number of notes so you can do more complex chords that step outside the min/maj/aug/dim realm. There's also many other creative uses. You can use the first two notes of an arp to play intervals that carry most of a chord's "flavour" and use the third note to add a layer of melody. That means that one a single channel, you not only are cramming a full-ish chord, but also a melody, really maxing out what you can play out of whatever machine you're using.

All in all, I find that chiptune arps are much more complex and unique that just reducing them to "a faster version of traditional arpeggios"


(2 replies, posted in General Discussion)

I watched the entire thing about 932 times. I often put it in the background when I'm doing something else. It's a super in-depth look at the BBS world of the 80s and 90s. The guy really did his research. Some of the people interviewed are top tier engineers who have changed the face of computing forever.

For a guy who grew up in the 300/1200 bauds era, this was super interesting to me. Shame they didn't touch on the demoscene aspect of BBSing though.

Highly recommended! The whole thing was put up on youtube a long time ago.