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#122
Quote by jetfuel495
I'm just a beginner, though, so I have plenty of room for improvement.

And Jari's the one to talk



He's exactly the right person to talk
Check out my band Disturbed
#124
Quote by jetfuel495
I am going to listen to the shit out of Time when it's finally released to make up for all the years I spent waiting for it.

Except I'm not really into that style of music anymore, so I probably won't.

I'll give it a few runs, at least.



Well, its' only 2 months away (in case you haven't kept up with WS)
Check out my band Disturbed
#127
Quote by jetfuel495
I am going to listen to the shit out of Time when it's finally released to make up for all the years I spent waiting for it.

Except I'm not really into that style of music anymore, so I probably won't.

I'll give it a few runs, at least.

Wait 'til you hear mine :3
#128
I want to sign up for this, but I am just too shitty regarding any sort of musical software.
#129
Man I really want to try this... but I just started working with electronic music like 2 weeks ago. I'll try to make something though.
...
#130
Quote by Oyface
I want to sign up for this, but I am just too shitty regarding any sort of musical software.

I say go for it! I can't use any music software I made both my UG splits using video editing software and an online YouTube - mp3 converter
#132
Goddamn, so much interest in this, and SHIT I've heard some kickass stuff so far, I'm really going to have to get to making my own track

@ Jetfuel, the policy on that software is: If it sounds good and 8-bity, use it. Elitists can go be dicks somewhere else.


As for the uploading thing, I'm thinking of making a dropbox for anybody interested in, and just posting the password so that everybody can make changes to their own track and get it up on their own, and can have everything collected in one place, instead of having everybody have to go through everybody's Soundcloud.

Opinions on that? Or do you guys think it would just turn into a big-ass mess? I could also make a private group and post it in there, instead of in the thread.
#133
What about a bandcamp when it's finished so everybody can download it easily?

Don't know if I'm going to use my beatbox/drum loop or not. It's pretty lofi and feedbacky, but I like it It depends on if I can figure out how the hell to work Reason or not
#134
Sure, we could do a Bandcamp, but for organising everything and getting the tracks, some kind of collective server would be a lot better than having to go through 20 pages of a thread, making sure I download the right versions, and running after people whose links have expired.
#136
Dropbox should work, it's fairly simple to get the hang of even if you've never used it before
e-married to the most fabulous Fashionista ever, Rarity
e-mom to Scootaloo, somehow
Quote by dawgeth321
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Quote by T00DEEPBLUE
Spit is a milf

UG 8-BIT ALBUM
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#137
Dropbox is great, go with that.
Quote by Ichikurosaki
sloth is hacking away feebly at the grass because he is a sloth but he was trying so hard ;_; hes all "penguin im HERE i am here to help you penguin"
#138
My vote goes to Dropbox. We can have a "Finished" folder where once a piece is posted in it you can't take it out and re do it, and we can have a WIP folder where you can post things and get feedback, etc.
#139
Here are some absolute classic NES tracks I figured I'd share. I'm sure a lot of you have heard some of them.

Ducktales - The Moon
Mega Man 2 - Dr. Wily
Castlevania III - Deja Vu (non-Japanese version)
The original Japanese version of Castlevania III came with a built-in soundchip that gave it three extra channels of sound, hence more complex arrangements were possible.

This is the Japanese version: http://www.youtube.com/watch?v=TecRb1nYrSE

It's a lot lusher, obviously, but I kinda prefer the more sparse sound of the American version.

Mega Man - Bomb Man
Mega Man - Elec Man
Mega Man III - Title Theme
Ninja Gaiden - Stage 4-2

Here's the entire Japanese Castlevania III soundtrack, since it's basically the best NES music ever: http://www.youtube.com/watch?v=tdlOdjd1DMo&feature=related
Last edited by Holy Katana at Aug 8, 2012,
#140
i'm in (maybe)
mugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmugmug
#141
I love Dr. Wily's theme. I tabbed it out by ear once and I've never even played Megaman. It's just that awesome of a song.

I ran a different song through Gashisoft, and I love the way it does the drums. I think I'd rather handle the rest on my own though: http://soundcloud.com/jetfuel495/clouds
#142
The Dr. Wily theme is most likely the greatest NES tune ever in terms of sheer awesomeness. However, it isn't as interesting in terms of sound design as some of the other stuff I posted. That Japanese Castlevania stuff with the VRC6 chip is just primo. The only other NES/Famicom game to sound better is Lagrange Point, which has the VRC7 chip, allowing the Famicom to do FM synthesis. The Famicom Disk System can already do basic FM, as you can hear if you listen to the Japanese versions of the Zelda or Metroid soundtracks, but it's basic (although it does spice up the soundtracks quite a bit, particularly with Metroid). Lagrange Point sounds like a Genesis/Mega Drive game musically. It's really weird when you watch gameplay videos of it and it's all NES-like and stuff, although the graphics are also really good for the Famicom, among the very best.

I'm currently busy analyzing the structure of some songs. Especially from Mega Man.
#143
I've said this before, but nothing tops Tim and Geoff Follin when it comes to NES music.

http://www.youtube.com/watch?v=ypNPxwnppU0
http://www.youtube.com/watch?v=T2l9O4ZLRhw
http://www.youtube.com/watch?v=BGNSHNf-nlU
http://www.youtube.com/watch?v=_mLOIs87ucc

Their C64 stuff is also insanely complex.
#145
Oh, here's the thread. I forgot to sticky this before.
To be vulnerable is needed most of all, if you intend to truly fall apart.


Quote by due 07
You have no idea how much I don't want to tell stories about my mother's vaginal slime on the internet.


I make music sometimes.
#146
I'm not sure how eligible this is, but if it is eligible then I would like to be signed up as I will be expanding this tune to a full length (3+ minutes) and if I like this enough, maybe actually learn to do all of this in REAPER with VSTs and whatnot instead of being a cheater and feeding my pre-composed MIDI files through GXSCC.

Extrapolgate [8-bit chiptune-like]

For anyone who is wondering, the chord progression is as follows:

| Cmaj7 | Cmaj7 | A-7 | D-7 |
| Db7 | F#7 | Bmaj7 | Gmaj7+5 |

or in roman numeral notation:

Ima7 - vi7 - ii7 - bII7 - V7 - Ima7 - bVIma7+5
(the bII7 chord being the transition chord that sort of exists in both keys, in C major as a tritone sub for the V [oh so deceptive ] and in B major as the 'two chord' with the third sharped [you can get away with it in blues I guess.])
Quote by cjmabry
Bahahahaha. Can I sig that?


Quote by Kurt Vonnegut
I tell you, we are here on Earth to fart around, and don't let anybody tell you different.
#147
Quote by MagicsDevil
I'm not sure how eligible this is, but if it is eligible then I would like to be signed up as I will be expanding this tune to a full length (3+ minutes) and if I like this enough, maybe actually learn to do all of this in REAPER with VSTs and whatnot instead of being a cheater and feeding my pre-composed MIDI files through GXSCC.

Extrapolgate [8-bit chiptune-like]

For anyone who is wondering, the chord progression is as follows:

| Cmaj7 | Cmaj7 | A-7 | D-7 |
| Db7 | F#7 | Bmaj7 | Gmaj7+5 |

or in roman numeral notation:

Ima7 - vi7 - ii7 - bII7 - V7 - Ima7 - bVIma7+5
(the bII7 chord being the transition chord that sort of exists in both keys, in C major as a tritone sub for the V [oh so deceptive ] and in B major as the 'two chord' with the third sharped [you can get away with it in blues I guess.])


It sounds cool, but even though the chord progression creates tension it is a bit jarring in places. But that's just in my opinion, I prefer classic harmony and more basic chord structures as foundation to the melody.

Good job.
Quote by Ichikurosaki
sloth is hacking away feebly at the grass because he is a sloth but he was trying so hard ;_; hes all "penguin im HERE i am here to help you penguin"
#148
Quote by Demon Wolf
It sounds cool, but even though the chord progression creates tension it is a bit jarring in places. But that's just in my opinion, I prefer classic harmony and more basic chord structures as foundation to the melody.

Good job.

Personally, I dug it, but I have a very high tolerance for unusual harmony and dissonant harmony. It's not really dissonant, though; just slightly unusual (the thing is, though, that stuff like that and even weirder stuff is pretty normal in jazz; sudden shifts in tonal centers and deceptive progressions are practically expected in the genre, and then you've got the tons of ways you can reharmonize a mundane progression with substitutions and embellishments that don't always make perfect sense but sound good to the ear). I like how he moved to B major by using a tritone sub in a typical I-vi-ii-V progression, so it's I-vi-ii-bII, but it just so happens that the tritone-subbed dominant is also the secondary dominant of the dominant of B major, that is, the V/V in B, so it smoothly transitions to B by going to the dominant of B and then naturally resolving to B, and then has that interesting Gmaj7#5 chord to make things even more tasty.

The only problem I have with it is that the first four bars aren't as interesting as the other four. I suppose I'd probably try to fix them with extensions and/or alterations to give it a less bland feeling.

Oh, and that it's made with Gashisoft, but that's because I'm an elitist who loathes anything that can make instant chiptune. It's just antithetical to the genre to me. I realize it has parameters you can mess with to have different sounds, but a lot of classic chiptune effects aren't possible with Gashisoft, since it uses MIDI, and while trackers can import MIDI, they tend to be better off without it. There are a lot of awesome effects you can't really do elsewhere. And there are certain compositional elements in the genre that just importing a MIDI can ignore. Can. You can keep those elements in mind while writing and do okay, but just importing a MIDI you wrote without regards to them creates something that sounds amateurish, IMHO. I can't stand a lot of chiptune "remixes" that were obviously created by putting a MIDI the person didn't create into Gashisoft and dicking around with the parameters. That one thread like a year or two ago that had people doing exactly that (and some people even making YouTube channels for their "creations") made me kind of angry.

But I'm a bitter purist, and I'm probably in the minority here. I just don't want a bunch of tracks that all sound the same is all, really. Chiptune is fun, but it's not something you can just jump into without prior knowledge or experience.

He said he's planning on doing it without Gashisoft later, though, so I don't feel so bad.

Although I'm thinking of using a mixture of a tracker and a sequencer. Doing a few tracks in one of my trackers, but then importing them into Live and adding additional ones with some VSTis. But I might not. I might just stick with Famitracker, even though that has its drawbacks. I'm not sure at this point. I'm still trying to find inspiration. Just a melody or a chord progression would be enough to set me off, but so far, I've got nothing.
Last edited by Holy Katana at Aug 10, 2012,
#149
Yeah I am no theory expert, I just go with the gut feeling.

Different strokes. I just downloaded some 8-bit plugins.
Quote by Ichikurosaki
sloth is hacking away feebly at the grass because he is a sloth but he was trying so hard ;_; hes all "penguin im HERE i am here to help you penguin"
#150
And that's okay. At least it's not just going with the GXSCC insta-chiptune thing.

There are a fair amount of people in the chiptune community who absolutely loathe the existence of it. I'm not really part of the community, since I don't do chiptune enough (I don't write music of any genre enough), but I understand exactly why so many people are angry about it, and I'm angry myself. And a lot of people who don't get it are people who don't know much about the genre or the scene surrounding it.

I mean, you yourself mentioned you disliked how a lot of people in the VG Albums basically took a premade MIDI of the original song and added different VSTis to it and called it a "cover," right? That's a major reason why people dislike GXSCC: a lot of people upload "remixes" on YouTube that are just the original with 8-bit sounds. No rearrangement or anything. I personally love it when someone does a chiptune version of a well-known song. It's awesome. But that's different. That's a from-the-ground-up rearrangement. It might not be completely different, but it's clearly arranged for chiptune. It's really cool when someone figures out how to make the most out of the limitations chiptune sets upon the composer or arranger. The whole ultrafast arpeggio thing? That was born out of the fact that sound chips didn't exactly have a bunch of channels back then, and thus actually writing chords out would be impractical, if not impossible. So, somebody thought of arpeggiating the chords on a single channel, but at an extremely fast pace, so it creates a sort of illusion that a chord is playing. Although that's more characteristic of C64 music than, say, NES music. I've heard a lot of contemporary NES music that uses it, but I can't think of any classic tunes that do.

And then there's also stuff like alternating short and long bursts of white noise for a hi-hat and snare sound. And the "Mega Man toms," where the triangle wave channel, normally used for basslines, is used to create those cheesy but distinctive toms. And a lot of times, these tunes didn't have a kick drum sound. Instead, they made the bassline follow a rhythm that a kick normally would. Or they just left it out entirely; it depends. There are definitely kicks in chiptune, but they're not always there.

I love the ingenuity of chiptune. Making the most of limited resources with all sorts of cool tricks.

What I'm afraid of is that this album won't have that ingenuity in most of its content. Because while I love 8-bit sounds, a large part of my interest in chiptune stems from that ingenuity. If it's not there, it's not that cool to me.
Last edited by Holy Katana at Aug 10, 2012,
#151
Yeah I understand what you mean. I don't necessarily have anything against those who want to "chiptune" their songs, as long as they created them from scratch to begin with, if you get my point. And they should have given the fact we're dealing with original compositions.

Then the 8-bitification (?) tool just becomes means to an end.

EDIT: I get what you are saying about ingenuity, and I love this challenge. I have a habit of overproducing and working alot with layers and textures, I have to strip back my entire composing approach which is a real fun thing to do when you've never done it before.

I think you gotta take it for what it is, there's gonna be some duds and some amazing stuff I'm sure.
Quote by Ichikurosaki
sloth is hacking away feebly at the grass because he is a sloth but he was trying so hard ;_; hes all "penguin im HERE i am here to help you penguin"
Last edited by Demon Wolf at Aug 10, 2012,
#152
Yeah, I don't feel that bad about people using GXSCC in this context, because everyone has to compose their own stuff. I can't say I necessarily approve of using it, but at least it's not the shysterism the people who make fake "remixes" using it engage in. It's also worth noting that it doesn't really sound like an NES or Famicom at all, but it's meant to emulate some sound chip Konami made for the MSX, so I suppose it makes sense that it doesn't.

Here's a great interview with the chiptune producer Inverse Phase, who did a chiptune demake of Nine Inch Nails' Pretty Hate Machine, entitled Pretty Eight Machine, and he talks about a bunch of stuff, including chiptune production (of course), fake chiptune (namely GXSCC, although he also talks about using real hardware versus using the sound chip emulation in stuff like trackers, which he uses; he tries to make it so the stuff he writes is entirely playable on the original hardware, even though he uses computers exclusively), and Nine Inch Nails, including the difficulties of doing really fucking good chiptune covers of them: http://pikigeek.com/2012/04/16/music-monday-a-chat-with-inverse-phase-on-nine-inch-nails-magfest-and-phony-chiptuners/

One cool thing is that he doesn't stick to one system for composition. He did "Something I Can Never Have" for Sega Master System, and "Down In It" for NES (including some of the ultra-lo-fi samples from Punch-Out; the NES lets you use 4-bit samples, if I remember correctly, and a program like Famitracker lets you either use your own samples and have them converted to the right format, or have ones that are already in that format; I dunno how he got his hands on the raw samples from Punch-Out unless he extracted them from the game's code or something, but it's cool nonetheless).

He also did the music and sound design for Super Smash Land, a Super Smash Bros. demake made to look, feel, and sound like it's for the original Game Boy, including the green-tinted screen. It's not actually a real Game Boy game (well, obviously, but what I mean is that it wasn't programmed for Game Boy), just meant to feel like one. He talks about doing the music and sound effects for that as well.

I think it would be a good read for everyone who wants to participate in this album, because he talks about a lot of misconceptions people have about chiptune, as well as the process of producing it, and how it can be unbelievably frustrating at times (the NES -- well, Famicom, really -- demake of the Gurren Lagann opening theme I did for the Anime Album back in like 2010 was probably the most frustrating musical project I've ever worked on; like him, I was going for purism, but I bent the rules a little by using the VRC6 sound expansion chip in Famitracker, but since it was a chip that Konami created and used, and Konami just happened to make both of the games based on the series, so I felt like it would be okay to use it and still have that purist spirit; I probably could have done it without the VRC6 if I were more willing to deviate from the original song, but the opening/main riff in it is one of my favorite things about the song, and I didn't want to compromise it significantly, since I think it's one of the most memorable parts of it anyway).

I don't take my purism as far as he does, although if I get an idea that I want to make something with a purist mindset, I'll do it. Sometimes I don't want to play entirely by the rules, though.
Last edited by Holy Katana at Aug 10, 2012,
#154
Quote by NothingRocks
It's actually pretty easy to rip samples from an NES game. In most NES games there's a debug mode in which you can play any sound effect from the game.

But I'm talking about like having the actual data, the raw samples used in the game itself. Not sampling the samples.

I mean, most NES games don't use samples, or if they do, they're generally snares and not sound effects, but the NES can play samples. They have a tendency to sound horrid, but it can play them. But I don't know if you could take a sample of one of those samples and put it into Famitracker and have it sound the same. Since the sample would be regular PCM and not the PCM variant it uses that I can't remember the name of, and it would have to be downsampled again, even though the original was already downsampled to like 4 bits and God knows what sample rate. So I don't know if it would even sound like anything but digital noise and distortion.

The guy sounds like he really knows what he's doing, though, so he probably actually did extract the sound from the code itself for all I know.

EDIT: Whoah, the new version of Famitracker has VRC7 capabilities! Sweet! Now it can do FM! Apparently it's had that ability for quite a while now. Oops. And it's not a new version. Double oops.

By the way, the Famitracker forums are pretty cool. There's a lot of stuff about getting various sounds and whatnot.

Some of the people on there are hardcore as fuck. They'll buy a real Famicom and the games that have the expansion chips (like Castlevania III for the VRC6, Lagrange Point for the VRC7), then play their music on the hardware. I know people do that all the time with the NES, but having to find all that stuff is probably much harder, or at least more expensive.
Last edited by Holy Katana at Aug 10, 2012,
#155
http://daydreamanatomy.bandcamp.com/album/8-bit-heros

I'm making an 8bit album myself, I might throw up one or two more of the tracks of it for the ug 8 bit album. This is just a preview of it.

edit:
It's been released, follow the link to download my album.
Last edited by stratkat at Aug 12, 2012,
#156
I'm all for the dropbox idea mentioned earlier, mine is ready to submit.
#159
Nay.
It's missing something.
To be vulnerable is needed most of all, if you intend to truly fall apart.


Quote by due 07
You have no idea how much I don't want to tell stories about my mother's vaginal slime on the internet.


I make music sometimes.