07-15-2017, 10:36 PM
Sample library developer, composer, and amateur organologist at Versilian Studios.
The Wandering in my Mind Collection
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07-15-2017, 10:36 PM
Sample library developer, composer, and amateur organologist at Versilian Studios.
07-23-2017, 02:51 PM
I was suposed to make a chiptune theme for my Udemy class. I discovered I hate chiptunes! So I revolted and somehow had a chiptune robot escaping the confines of his cartridge. You know I'm starting to think I'm not entirely normal...
https://soundcloud.com/joe-stevens-16/ch...ot-escapes
07-23-2017, 09:17 PM
Just like pretty much any niche genre, chiptunes are not for everybody.
Chiptunes could be written to imply certain genres in the melodies, harmonies, and rhythms, and the listener's brain could fill in the blanks. They made everything from baroque to heavy metal with just a couple primitive oscillators. Nowadays the chiptune seems to have become something of a trope to create a sense of "videogameness".
07-23-2017, 10:12 PM
Although it's easy to think of chiptune as a style, philosophically it's originally more about working with the constraints of the instruments than it ever was about making a particular set of stylistic choices. As Otto puts it, it's become more of a trope or style nowadays, but chiptune doesn't need to be limited to sounding like old games- anything which makes usage of a primitive, limited synthesis chip is a 'chip-tune' in that sense. e.g. https://instaud.io/vkn
Something that is often forgotten in teaching is the importance of constraints. Creative constraints are helpful to the creative because they allow them to focus their creative energy in a particular direction. If you were to try sitting down and just making a song with no rules or starting point, it is very difficult, but given constraints, it becomes easier and workarounds to make it happen become much more creative.
Sample library developer, composer, and amateur organologist at Versilian Studios.
07-24-2017, 03:18 AM
Thanks for the comments. I still hate chiptunes, but I maybe understand better... Anyway adaptive music is up next, I think that will be more interesting.
On an unrelated note, did I already ask this? I must look. How do I break up a chord across a string section? Bass plays the bass note, cello the middle note an octave high, viola the the high note of the chord and violin the melody. So Bass low C, Cello higher E, Viola G or maybe Bass C, Cello G and flip the E up to the Viola? Or isn't that what you do it at all?
07-24-2017, 06:22 AM
Generally that's the idea. The way you set up the chord is referred to as "voicing", and there are many different ways to voice it.
The typically trick is to be more 'open' at the bottom and 'closed' at the top. This mirrors the harmonic series, which gives us the major chord. This is the harmonic series of C (the low note), but it can be built from any note. Building a chord from the bottom up like this (going only up to the G or else skipping the B-flat) creates a nice spread. However, that doesn't (and shouldn't) mean you "have to" do this- it's just a generic starting point. It's very possible and also a nice effect to build lower intervals into the chord, as long as they aren't too low (intervals too low get muddy very easily). Try voicing chords different ways to get different sounds. See what happens if you leave out the third, or the fifth, or bunch up in the middle with a high note and a low note.
Sample library developer, composer, and amateur organologist at Versilian Studios.
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