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Oldstench posted:I skimmed over the name and at the end of the paragraph said to myself, "I bet he's Finnish". Yeah thats like the john smith of finnish names
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Jan 30, 2018 22:03
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Wow you guys don't know Ovuca??? Also alternative tunings are awesome, everyone should just gently caress off of 12ET for a while
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Jan 30, 2018 22:04
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I know ovuca and astrobotnia Since like 2001 but then again he's a local guy, used to live practically next door to me Brothomstates is good too, another finn on rephlex Dyna Soar fucked around with this message at 22:08 on Jan 30, 2018 |
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Jan 30, 2018 22:06
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Dyna Soar posted:Yeah thats like the john smith of finnish names I meant I didn't read the name, but the weird poo poo in the rest of the paragraph triggered my Finndar.
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Jan 30, 2018 22:22
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https://www.youtube.com/watch?v=RuT6Y53LYH4 relevant
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Jan 30, 2018 22:45
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toadee posted:Wow you guys don't know Ovuca??? I have nothing against alternate tunings, tonality etc. but for a lot of people it's akin to getting the world record for juggling spatulas while standing on one foot while balancing precisely three walnuts on your shoulder; they picked a category to be the best by default. The people who do it well commit to it and try to mine it to the core; the rest are there to say "oh, you use equal temperament, how limiting  " while they basically noodle on whatever expensive toy they custom tuned and declare the rest of us unable to understand it.
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Jan 30, 2018 22:59
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Tuning the oscillators? Do I look like I play keyboard?? 
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Jan 31, 2018 02:27
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stillvisions posted:I have nothing against alternate tunings, tonality etc. but for a lot of people it's akin to getting the world record for juggling spatulas while standing on one foot while balancing precisely three walnuts on your shoulder; they picked a category to be the best by default. The people who do it well commit to it and try to mine it to the core; the rest are there to say "oh, you use equal temperament, how limiting or they just buy a fiddle 
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Jan 31, 2018 04:27
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Everyone in this thread knows that the best way to make music is create a computer algorithm and just let it figure out the rest. Failing that, take random tape samples, physically cut them up, then physically tape them together through random die rolls, like they did it in the REAL electronic days of the '30s.
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Jan 31, 2018 04:51
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Drone every voice available simultaneously, drench it in delay/reverb, and layer anime samples on top. Open up a patreon once you get to 50k subs.
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Jan 31, 2018 05:04
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you won't have to worry about tunings and tonality if all your work is done in the sub/ultrasonic frequencies
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Jan 31, 2018 06:58
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Your Computer posted:you won't have to worry about tunings and tonality if all your work is done in the sub/ultrasonic frequencies lol to bring it full circle i have really been wanting to work with just intonation thru the time/frequency barrier to come up with rhythms that are in tune with the notes played in the rhythm
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Jan 31, 2018 10:14
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https://youtu.be/7rBhv-Wg-Kw
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Jan 31, 2018 10:33
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It's so good it's almost unlistenable.
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Jan 31, 2018 10:38
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Richard yet again proving that microtonal stuff is great: 180db_ [130] - no youtube link so get on spotify ya chumps https://open.spotify.com/track/2VfEcR59Czu8ii3u6kKeP8
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Jan 31, 2018 10:48
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why not just get a steel 🧐
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Jan 31, 2018 11:25
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Your Computer posted:you won't have to worry about tunings and tonality if FTFY EDIT: Ok, legitimate question, and I don't know where else to ask this. I've always noticed that videogame music and sound effects sound similar between games from the same developer, even when there were different composers. Why is this? Did each company's sound department have presets for certain things? I'll give you a few examples... Kemco: Compare the music for Bugs Bunny's Crazy Castle to a lot of the tunes from the ICOM trilogy (Uninvited, Shadowgate, Deja Vu). Those little musical quirks are the same throughout. (EDIT: Ok, so those were all the same composer, so maybe this one doesn't count) Konami: Compare the Castlevania games (both music and SFX) to those found not only in other Konami games like Metal Gear, but also the Ultra games, like Base Wars and TMNT 1, 2, and 3. Obviously, they all share the same pause button jingle, but I'm referring more to gunshots, explosions, item pickups. Capcom: All of the Disney games sound similar, and then on top of that, they all sort of sound similar to the Mega Man games (after 1, since that one seemed really primitive, musically. Good, but simpler). The moon theme could have been the credits song for any given Mega Man game, really. Nintendo: Man, does Punch-Out sound like it could have been Zelda 2, and vice-versa. Sure, the musical themes are different, but the voicing is all the same. The music during the bike training montage could have easily fit in as some sort of end-of-game fight sequence for Zelda 2. HAL (yes, technically Nintendo, still): Kirby's Adventure sounds a LOT like the Lolo games. Also, I found when playing New Ghostbusters 2 (also made by them), the music and sound effects sounded very similar to both the Kirby and Lolo franchises. Another question I have is does anyone know if there's a video or article describing this? I swear I saw one on FB, Youtube, or linked on Reddit a couple years ago, but I never got around to watching it, and can't find it now. 
Rupert Buttermilk fucked around with this message at 14:48 on Jan 31, 2018 |
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Jan 31, 2018 13:41
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One is that they probably had the same in house composer writing music for many different games, and two is that the game systems of that era had internal synths/sound sets, so the range of sounds you were going to get was quite limited anyway.
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Jan 31, 2018 14:58
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I'm sure it was just cost effective to use the same sound assets for multiple games.
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Jan 31, 2018 14:59
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Most composers for those games were badly paid, incredibly short on time and using awful tools. People also worked from the same tools so people worked from presets a lot of the time. Sound design was a massive luxury - it wasn't like we had now, really expressive super synths. You had horrible interfaces written without any consideration for a composer. Most of the time you took your four channels and did the best you could. Of course, some people broke the mould - cf. Plok soundtrack + many more. But mainly, you were just tight on everything - time, money and tools. Check out this amazing video about how they made Genesis music back in the day https://www.youtube.com/watch?v=WEvnZRCW_qc
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Jan 31, 2018 15:03
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Rupert Buttermilk posted:FTFY Coding video game music in the limited memory of the NES (or even C64) is not easy. It's not just writing music; you're writing instructions for the CPU or for the SID chip. Read http://rga24.blogspot.nl/2012/01/interview-with-tim-follin.html In my search results I also saw a few YT videos, perhaps those are the ones you're thinking of? This is the guy behind Solstice on the NES and he's written lots of C64 music as well - and the NES Solstice soundtrack sounds so much like it was written for the C64 that it's not even funny anymore; virtually no other NES game sounds like it. At a certain point you discover a cliche that works for you, like audio-rate modulation of waveforms, or using little arpeggio tricks like letting the note jump an octave down, ringmodulation, limited FM, adding noise attacks to notes to give them more emphasis or faking transients, stuff like that. It expands your instrument palette from simple saw and squares to something more. A drum sound is just a set of instructions - a program by itself - that instructs the oscillator to play at a low pitch that descends at an exponential pace. Perhaps some noise to fake a transient. You gather these, collect these, and they become part of your orchestration. "Oh, you guys need a timpani? I wrote something like that half a year ago for a different game, let me see if it's in my notes". That's your preset right there. For giggles, you might build some drum sounds from scratch and elementary particles. Then it's a matter of copy-pasting that piece of code in the right spot in the sequence. Since the people responsible for the soundtracks worked alone most of the time, each developed their own idiosyncratic style, copying and learning from others when possible, but apparently respecting eachother enough to avoid certain cliches. All sample-based consoles had samples, so you'd have an in-house composer trying to cram the glorious tones of say, a Korg M1 in the tiny memory of the SNES or the roomier space of an N64, and once you did that, you were going to reuse that effort over and over again, of course. Which is why Banjo-Kazooie and Donkey Kong 64 have these marimba sounds everywhere.
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Jan 31, 2018 15:04
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EDIT: ^^^ Thanks for this, and everyone else's response. Totally makes sense now. I figured it was either per composer or per developer presets, but man, I really want to find that video again. Rupert Buttermilk fucked around with this message at 15:10 on Jan 31, 2018 |
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Jan 31, 2018 15:05
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I mean back in those days you couldn't just use any old recording, the code for the chiptune systems and the samples for the sample-based systems had to be specially crafted and you couldn't just google a soundfont. I assume most developers basically had their own "sample libraries" that their composers could use.
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Jan 31, 2018 15:05
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Rupert Buttermilk posted:EDIT: ^^^ Thanks for this, and everyone else's response. Totally makes sense now. This is a good one https://www.youtube.com/watch?v=q_3d1x2VPxk
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Jan 31, 2018 15:17
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I kind of wish that there were more unheard NES games from these companies, because I'd love to play a 'listen to this track you've never heard, guess the developer'. I feel like I'd have a pretty good shot at getting them all (or almost all) correct. I immediately hear 'echo'd square lead' with Kemco, for example, and anyone listening to the Bugs Bunny's Crazy Castle or ICOM games will hear the same. I actually love that this happened, I don't want anyone to think that I feel it's a negative thing in my mind. It's oddly charming.
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Jan 31, 2018 15:17
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Since videogame music has been in the discussion this got posted recently and a) it's pretty nice harmonic ideas for future work and b) it's about Disasterpeace who does some pretty nice work (Hyper Light Drifter and It Follows being two of them he's known for). https://www.youtube.com/watch?v=JkAl3It8sEQ I've been meaning to sit down with actual sheet music paper and try writing stuff that way again. This seems like one good approach to try with that.
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Jan 31, 2018 16:28
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stillvisions posted:Since videogame music has been in the discussion this got posted recently and a) it's pretty nice harmonic ideas for future work and b) it's about Disasterpeace who does some pretty nice work (Hyper Light Drifter and It Follows being two of them he's known for). Thanks for this! And while we're discussing Disasterpiece: https://www.youtube.com/watch?v=PH04VJ8jxvo I was able to recreate this in Serum and it sounds so good.
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Jan 31, 2018 16:53
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Fun fact, I asked Disasterpeace about what synths he used for various stuff and if I recall correctly he said about 80% of what you hear in It Follows is just straight up Massive with very little processing, so it's definitely a workhorse for him. Really nice guy, too. I wish I could have seen his talk at Gamer's Rhapsody, I was working about a half a mile away at the time. Edit: also I loving love chiptune stuff and have spent a lot of time monkeying around with it, though I'm not terribly good at it. Thought about starting a chiptune thread but I wasn't sure if there would be much interest in it. But if anybody ever wants to talk chiptunes, feel free to PM me or whatever. Another fun fact, if you want instant SNES-era Final Fantasy sounds, I'm pretty sure the vast majority of the samples were pulled from the Roland SC-55. MockingQuantum fucked around with this message at 17:19 on Jan 31, 2018 |
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Jan 31, 2018 17:14
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MockingQuantum posted:Fun fact, I asked Disasterpeace about what synths he used for various stuff and if I recall correctly he said about 80% of what you hear in It Follows is just straight up Massive with very little processing, so it's definitely a workhorse for him. Really nice guy, too. I wish I could have seen his talk at Gamer's Rhapsody, I was working about a half a mile away at the time. I love old game music, but just couldn't get into chiptune. I bought LSDJ, which is a ton of fun, if not a bit baroque. I think I just want to score games.
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Jan 31, 2018 17:24
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MockingQuantum posted:Fun fact, I asked Disasterpeace about what synths he used for various stuff and if I recall correctly he said about 80% of what you hear in It Follows is just straight up Massive with very little processing, so it's definitely a workhorse for him. Really nice guy, too. I wish I could have seen his talk at Gamer's Rhapsody, I was working about a half a mile away at the time. I'd be down for a chiptune thread. One thing for me is that I'm no good with tracker programs, and really don't see the point in forcing yourself through that sort of workflow if it's counter-intuitive to what you're used to. Obviously, back then, that's what HAD to happen, or even worse if it required direct programming. I realize that Koji Kondo wasn't composing directly with a tool like this, and it was more like transcribing his written music to something like this, but honestly with the technology I (and we all) have access to, I just make my plugins sound retro, and go to it. Shameless self-promotion of a free thing I did, but I have an "8-bit-inspired" album I made almost 10 years ago (holy poo poo  ), and it was a combination of Logic's ES1 and reFX's QuadraSID plugins.EDIT: To save yourself time, if you just wanted to hear whatever would have been considered the 'single', it's track 3, "Ceiling Fan".  EDIT: vvv I remember someone actually complimented me, saying they appreciated that I didn't just go all 'super crazy mega man remix' with my album. Some tracks are faster than others, but none get to that frenetic pace that you mean, and that's because I absolutely feel the same way you do. I don't listen to EDM, DnB, or speed metal normally, so I'm certainly not going to make 8-bit versions of that kind of thing. Rupert Buttermilk fucked around with this message at 17:41 on Jan 31, 2018 |
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Jan 31, 2018 17:35
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I like a lot of the chiptuney stuff, but outside of Disasterpiece, I haven't really heard a lot of mellow chiptune. Most of the stuff I hear is hyper frenetic and that bores me to tears. If I could find more stuff like this, I'd be happy https://www.youtube.com/watch?v=b_9NGviXBjg&t=510s
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Jan 31, 2018 17:38
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I may have a bit of extra cash coming in soon and I'm prooooobably gonna blow a chunk of it on an OP1. I have the Volca Keys, Beats and a PO office and I'm entirely making fun sounds for me at this point. Are there any super compelling reasons to split it up on some other gear instead or hold off for a bit? I really like the idea of an all in one jambox thing and while the Circuit does look awesome everything about the OP1 looks like a step up for someone like me who's a newbie to making music. I'm also trying to keep my physical footprint down on all this stuff since it'll live on my already cluttered desk. I've played around with the ableton trial a bit but I always go back to my hardware stuff because it's easier for me to deal with. I know you can use the OP1 as a midi controller even though the keys don't look great, would it be possible to get an adapter to use it on my Volcas? Edit to add I really dig dark wave, synth pop and poo poo like whatever you'd call the Hotline Miami soundtrack along with stuff like the avalanches and jdilla. I mostly enjoy making ambient sounds with simple drum loops and glitched out patterns with the PO. I also ordered the PO KO to get a bit of that but this would be entirely frivolous spending so I don't mind double dipping on sampling. I REALLY like the look of the sample engine on the op1. Stan Taylor fucked around with this message at 18:08 on Jan 31, 2018 |
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Jan 31, 2018 18:00
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One of these will let you use it with your volca: http://www.kentonuk.com/products/items/utilities/usb-host.shtml As for the OP-1, it's a lovely piece of kit. I didn't get on with it and sold mine (as did Tarekith, come to think of it), but if the workflow clicks with you, you'll love it.
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Jan 31, 2018 18:05
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Stan Taylor posted:I may have a bit of extra cash coming in soon and I'm prooooobably gonna blow a chunk of it on an OP1. I have the Volca Keys, Beats and a PO office and I'm entirely making fun sounds for me at this point. Are there any super compelling reasons to split it up on some other gear instead or hold off for a bit? I haven't dug into the sample engine on the OP-1 but from my limited experience with it it's fine, and you can get pretty quick at using it. I will say I think the sound of the OP-1 will definitely be right up your alley. Only thing to keep in mind is that the design philosophy behind it was definitely that it should be a one-stop-shop piece of kit, so while there are ways you can integrate it into a bigger setup without a ton of hassle, it's not really designed around it. It's meant to play mostly with itself, and from what I gather it works pretty well with POs, but it's not intended to be a big driver of other equipment or a sequencer that sits at the heart of a mammoth MIDI setup. Not saying it can't do a lot with other gear, just that it works really, really well solo.
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Jan 31, 2018 18:45
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The things I hated most about the OP-1 was the unintuitive synth engines - they emphasise experimentation, but when you just want a certain sound, good luck! - and the really tedious tape recorder. I spent hours and hours labouring away at that thing but it was the opposite of a fluid creative experience for me. You only have to look as far as Andrew Huang, RMR and Cuckoo to see people doing amazing things with that 4 track, but I could never give it the time it apparently needed. It certainly felt slow and clumsy next to my Push 2 and Digitakt. Hell, even the Circuit got me doing things way faster and more excitingly. I think the OP-1 is a really creative tool that requires someone equally creative to get the most out of it. I don't think I'm the sort of person it suits. I only say all this to give you an example of that very niche tool not working. It shouldn't put you off giving it a whirl! I'm glad I got mine, if only to quench my epic GAS and make me learn more about myself as a musician. I sold it on for a really good price too; it's a hot ticket item that resells well.
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Jan 31, 2018 18:59
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Yeah I'm not too worried about absolutely hating it and the resale value is pretty comforting if I end up wanting to switch it out down the line. I have no formal training so I'm mostly just throwing stuff at a wall and seeing what sticks. I got on really well with the PO sequencer so I'm pretty confident that would carry over to a bigger format with a similar design ideal.
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Jan 31, 2018 19:27
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I figure this is basically the thread for sampling-related hardware questions and wanted to get some opinions from others between a couple products. I have decided that I want to go the Native Instruments Maschine route versus the Akai MPC for a couple reasons. One, I would get Komplete with Maschine which would be an amazing collection of sounds to be able to use. In addition, I am familiar with NI hardware having used a Traktor S2 for a while and like the look and feel of their controllers. The part I am having a hard time with now is deciding whether to look at the new Maschine Mk3 or to try and pick up a used Maschine Studio since the prices on those seemed to have dropped quite a bit since the Mk3 was released. I will mostly be using the Maschine to chop/edit/play samples recorded from my AT-LP120 and am wondering if there are any feature differences that would make one of these a much better piece of hardware for my studio.
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Jan 31, 2018 19:50
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Rupert Buttermilk posted:Thanks for this! And while we're discussing Disasterpiece: ahhhhh i saw this video ages ago and was never able to find it again (couldn't remember "disasterpeace" or even just "fez"). thanks for posting it. 
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Jan 31, 2018 19:50
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get an octatrack, i love it
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Jan 31, 2018 20:34
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Stan Taylor posted:Are there any super compelling reasons to split it up on some other gear instead or hold off for a bit? Do you already have a good mixer? Stan Taylor posted:I really like the idea of an all in one jambox thing If I was rich my next portable/all in one jambox/controller would be the MPC live
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Jan 31, 2018 20:52
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