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Yeah of course NI's gonna help you if you lock up your computer, so is Ableton if you accidentally mess up your harddrive and lose a (quite expensive Live Suite) licensing key. Companies that have competent people working at their help-desks do that well.
I was using it as an example for how licenses often work though, and not every company is as lenient.

Maybe not fair to use NI exactly, since that company's like one of the few I trust. But it was the closest thing at hand just now.

EDIT: furthermore why I think there should be a "gold standard" for licensing software, VSTs included is that. Once you own like a dozen or so licenses, it starts to become a real pain the ass to later hunt down all of the serial keys, passwords, logins for the sites/VSTs should you have to relocate or get a new system harddrive. YES there are ways to manage this on your own but. A real standard would mitigate that a little bit. but then, we all know what standards and software developers have in common: They are just as unwilling to bend.

I thought it was quite steep when I got it to be honest. Or at least at the time, it was a "commitment" (broke-ass artstudent lol). But now in hindsight it was just the right price for how much I use that damn thing. There are some features I really miss, like being able to automate BPM base(if it exists i'll be very happy, i have not been able to yet) for the arpeggio, since you can change it dynamically whilst playing anyway? what's the problem?

But yeah totally worth it on my part.

Aly James makes terrific VSTs! I have his super PSG, VLinn 1 and 2 and FM drive. really missing 64 bit versions of those though...

There's some movie with the name "Here... My explosion" or something equally bizarre which I can for the life of me understand why anyone'd ever name a movie like that.

But as far as musicians/bands go, I mean, explosion is a very common word obviously so there's gonna be a few around using that. Doubt anyone else (that's googlable at least) has done the "my.Explosion" specifically as a band name/musician handle so far tho.

Oh damn oh damn.

Lacking a little bit on the low-end to me. Maybe it's just me(my headphones etc) tho or the rough mix.
But otherwise it's a really cool track Really hype and makes me want to fight robots with my bare fists.

Yeah honestly. Chipmusic is as good as the composer is. That's what I like about it, it's entirely skill-based just as other instruments. You have to really understand it to great depths before you can start producing stuff that's interesting and takes advantage of the instrument (in this case a variety of hardware soundchips). (To compare it to something that arguable takes no/less skill. Buying already composed loops, sound effects and just arranging them one after the other in a DAW. That's gonna give you a semi-polished EDM track that you had like no hand in creating, you opened your wallet LOL, that's where the effort was. No skill. And yes, you could argue that the arranging is still a skill but whatever, if you don't know how to make your tracks sound good on your own, you're lacking skill.)

And the hinderance you're expressing with the percussion part, it's tough for me to imagine specifically why that'd somehow force your hand. Do you mean when you perform on the fly live? or just when programming out drumparts. Because the intricacies lie in your programming if the latter. (Obviously )The more stuff you program out and the more you change tempo, swing etc all that the more dynamic your drum programming becomes..

But if you're indeed talking about performing live then yeah it's a bit tougher and less hands on to change something navigating possible menues and then playing drumparts so that they get synchronized. But that's also true for every choice instrumentation that isn't drumming on an acoustic or electronic kit, not just chipmusic?

But yeah, uhm. I feel that there's always space for "push/pull", somehow. If you're running out of channels and stuff, remove something that isn't as important or, if you are so inclined, add another set of channels from another device.
I can't really imagine a situation where you couldn't "bend the limits", so to speak. So for me the answer is: No limits, only skill.

I'm a two-parter. When I was very little, my oldest brother would watch Amiga demos with me and we'd listen to the music and stuff. So naturally I remember a lot of those tunes to this day, but mostly subconsciously. So they left some kind of mark on me for sure.

But I grew to love chiptune specifically composed on Game Boy around 2006 or so when I was looking for electronic musicians on Myspace, that's my conscious choice LOL.

So the chiptune I love and admire, mostly the demoscene stuff is different from the stuff I love to create, mostly because of the insane skills one would have to possess to be able to do demoscene-quality tunes.

So in short: to answer the question: one part "I can't help myself" and one part of "Game Boy fucking rules." equals to my reason for making and enjoying chiptunes.