I've come up with two more compositions recently, both short songs, based around simple ideas, but I've been trying out some new things.
On this track, Striving for Sonic Mediocrity I played around first with the speech synthesis capabilities of lsdj, making it speak out "godinpants" the name I produce under.
I also began making use of the noise channel, while I couldn't come up with much for it, I was later directed to this page the LSDJ patchbook which I made use of later.
When it came to recording this track, I panned the pulse channels, and wave synth left, and the wave kits, and noise channel right. This meant I could apply different compression to the drums, which I think really stand out well on this track.
In the second track, sun-chaser I created all my percussive parts using the noise channel, with instruments modified from things i found on the previously mentioned patchbook.
This freed up the wave channel to play synth parts(although it mostly performs harmonies with the pulse channel, which should lead to a lot more options melodically in future.
Wednesday, May 27, 2009
Monday, May 18, 2009
Musical Progress.
So far this year I've just been making as much music as I can with my Gameboy. After receiving my copy of LSDJ however, it has taken the majority of my chipmusic time.
I have recently been working with Oliver Wittchow's(author of nanoloop)software nanovoice.(http://www.nanoloop.com/nv.html)
Nanovoice is strange in that while it plays the role of a 16 step sequencer, it does things a bit differently.
This means nanovoice is capable of producing some very interesting sounds(often droning and very minimal) whilst still maintaining the lo-fi signature of the gameboy.
The sounds pulsate, warble and often have a very soundscapely sound to them.
One of the composition techniques I've been playing with while using nanovoice, is to implement Conway's Game of Life(http://www.ibiblio.org/lifepatterns/) in a 16X16 grid, as offered by nanovoice.
After coming up with an initial setup, I work out 5 or so generations, normally more than enough material for a lengthy track. I then hit record, and begin plotting in each generation, creating a gradual, build from the minimalistic 2 note sequences, to complex hyperpaced melodies.
I've also been using several "rule sets" to aid this process.
The first is the simplest, once a generation is complete, I simply begin building the next, erasing and adding cells where needed, choosing without much thought, the volume level of each cell.
The second, involves each cell being set on the mid volume level in the first generation, when it comes time for the second, new cells are added at the mid volume level, cells that have died fade down one step, and cells that have remained move up a step.
The third rule set is the most time consuming, as it requires changing volume levels dependent on the number of adjacent cells. Preempting the death of a cell, or birth of a new cell.
This has been an interesting method of composition, leading to unexpected results, some of which can be heard in the following
nanolife
here are the(tiny) scores for the first and third tracks
I have recently been working with Oliver Wittchow's(author of nanoloop)software nanovoice.(http://www.nanoloop.com/nv.html)
Nanovoice is strange in that while it plays the role of a 16 step sequencer, it does things a bit differently.
"Nanovoice does not play Game Boy specific sounds with the console's built-in synth functions but implements its own synthesis scheme while the soundchip is misused as D/A converter. Digital audio output is realized via amplitude modulation of the Game Boy's two rectangular wave generators, resulting in a 4-bit stereo audio stream with a variable sampling frequency below 4 kHz."
This means nanovoice is capable of producing some very interesting sounds(often droning and very minimal) whilst still maintaining the lo-fi signature of the gameboy.
The sounds pulsate, warble and often have a very soundscapely sound to them.
One of the composition techniques I've been playing with while using nanovoice, is to implement Conway's Game of Life(http://www.ibiblio.org/lifepatterns/) in a 16X16 grid, as offered by nanovoice.
After coming up with an initial setup, I work out 5 or so generations, normally more than enough material for a lengthy track. I then hit record, and begin plotting in each generation, creating a gradual, build from the minimalistic 2 note sequences, to complex hyperpaced melodies.
I've also been using several "rule sets" to aid this process.
The first is the simplest, once a generation is complete, I simply begin building the next, erasing and adding cells where needed, choosing without much thought, the volume level of each cell.
The second, involves each cell being set on the mid volume level in the first generation, when it comes time for the second, new cells are added at the mid volume level, cells that have died fade down one step, and cells that have remained move up a step.
The third rule set is the most time consuming, as it requires changing volume levels dependent on the number of adjacent cells. Preempting the death of a cell, or birth of a new cell.
This has been an interesting method of composition, leading to unexpected results, some of which can be heard in the following
nanolife
here are the(tiny) scores for the first and third tracks
Monday, May 11, 2009
Reflection - Software.
Why am I using the software i am?
The main pieces of software i intend on using on the gameboy are as follows, LittleSoundDJ, Nanoloop 1.3 and the “Trippy H” sequencer found on the gameboy camera peripheral.
The first, LSDJ is usually considered the more advanced of the three, allowing more control over sounds produced and sequences, the ability to string sequences together, and use of the wave channel as either a synth or sample player. LSDJ also allows the use of a modified PS2 computer keyboard as a keyboard controller for the software, meaning users can step outside the general gameboy interface. The song arrangement screen makes LSDJ one of the more “musical” of the three, because users can write out an entire song and let it play back, or use “live” mode where chains of phrases can be selected. I have been using LSDJ primarily, due to the complexity of patterns it allows. I can write longer songs, with a stronger structure than i would in the other software mentioned here. I am also quite drawn towards using the sampled drumkits within the software, there is a challenge of writing original sounding beats, while utilising a maximum of 2 samples at a time, with samples having any kind of decay cut off when the next sample begins, it creates a simplicity in what can often be complex patterns.
Nanoloop is a much more simplified sequencer. It really lends itself to creating music from short loops, and live performance. Unlike the LSDJ pattern selector that only allows a user to choose phrases within the one song, or save file, Nanoloop allows a user to access all saved phrases and swap between them, either one at a time, or a whole “column”. Unlike LSDJ which makes use of the wave channel as a sample player, Nanoloop contains a “special”wave channel, where a custom waveform can be played back. This does though, force users to create all drum sounds with either the noise channel, or a combination of a pulsewave kick and noise high hats/snares. I feel like this leaves Nanoloop creating more “authentic” game sounds, leaving behind the sampled kits used by LSDJ.(However Gameboy games did occasionally make use of the sample playback ability of the wave channel) I enjoy using nanoloop, because it allows a certain level of improvisation, which i feel is important in the way i create music. It is this same feature though, that sometimes limits me from “finishing” songs, most of my music written in nanoloop never really reaching a finishing point, patterns and parts are continually reused and reintroduced for different songs.
The final piece of software “trippy H” is a simple 16 step, 3 channel(pulse, pulse, noise) sequencer with user controlled sample playback(an assortment of blips and other videogame type sounds). It was included as an unlockable extra in the gameboy camera software. Users had to complete a top scrolling shooter, upon which a third ship labelled “dj” apeared at the beginning. The difficult to navigate nature of the software(designed as a toy rather than a tool for musical tool) on top of the limit of three save files, makes music from trippy H difficult to compose and perform. This is usually overcome by users recording song data and rearranging in a computer based DAW. The limitations of trippy H are what cause it to thrive in a sense, on live performance, with its minimalistic approach to music, changes must be made slowly, often only at a rate of one note per cycle. I feel if trippy H were able to sync with external sources such as drum machines or software like LSDJ, it would be a much more valuable tool in the creation of minimalistic micromusic.
The main pieces of software i intend on using on the gameboy are as follows, LittleSoundDJ, Nanoloop 1.3 and the “Trippy H” sequencer found on the gameboy camera peripheral.
The first, LSDJ is usually considered the more advanced of the three, allowing more control over sounds produced and sequences, the ability to string sequences together, and use of the wave channel as either a synth or sample player. LSDJ also allows the use of a modified PS2 computer keyboard as a keyboard controller for the software, meaning users can step outside the general gameboy interface. The song arrangement screen makes LSDJ one of the more “musical” of the three, because users can write out an entire song and let it play back, or use “live” mode where chains of phrases can be selected. I have been using LSDJ primarily, due to the complexity of patterns it allows. I can write longer songs, with a stronger structure than i would in the other software mentioned here. I am also quite drawn towards using the sampled drumkits within the software, there is a challenge of writing original sounding beats, while utilising a maximum of 2 samples at a time, with samples having any kind of decay cut off when the next sample begins, it creates a simplicity in what can often be complex patterns.
Nanoloop is a much more simplified sequencer. It really lends itself to creating music from short loops, and live performance. Unlike the LSDJ pattern selector that only allows a user to choose phrases within the one song, or save file, Nanoloop allows a user to access all saved phrases and swap between them, either one at a time, or a whole “column”. Unlike LSDJ which makes use of the wave channel as a sample player, Nanoloop contains a “special”wave channel, where a custom waveform can be played back. This does though, force users to create all drum sounds with either the noise channel, or a combination of a pulsewave kick and noise high hats/snares. I feel like this leaves Nanoloop creating more “authentic” game sounds, leaving behind the sampled kits used by LSDJ.(However Gameboy games did occasionally make use of the sample playback ability of the wave channel) I enjoy using nanoloop, because it allows a certain level of improvisation, which i feel is important in the way i create music. It is this same feature though, that sometimes limits me from “finishing” songs, most of my music written in nanoloop never really reaching a finishing point, patterns and parts are continually reused and reintroduced for different songs.
The final piece of software “trippy H” is a simple 16 step, 3 channel(pulse, pulse, noise) sequencer with user controlled sample playback(an assortment of blips and other videogame type sounds). It was included as an unlockable extra in the gameboy camera software. Users had to complete a top scrolling shooter, upon which a third ship labelled “dj” apeared at the beginning. The difficult to navigate nature of the software(designed as a toy rather than a tool for musical tool) on top of the limit of three save files, makes music from trippy H difficult to compose and perform. This is usually overcome by users recording song data and rearranging in a computer based DAW. The limitations of trippy H are what cause it to thrive in a sense, on live performance, with its minimalistic approach to music, changes must be made slowly, often only at a rate of one note per cycle. I feel if trippy H were able to sync with external sources such as drum machines or software like LSDJ, it would be a much more valuable tool in the creation of minimalistic micromusic.
Reflection - Hardware
Why have I chosen the hardware i have?
I chose to use Nintendo gameboy and an apple SE/30 as my main tools for this project, firstly for their ease of availability to me,having already owned both for some time I didn't need to seek out other tools to use for the production of my music. The gameboy in particular already has a large foothold in the chipmusic community due to its ease of availability, low cost replacement and the availability of software written for it. Software on this platform also has the possibility of being “flashed” to carts, a process where the software is written to the cart, allowing easy updates, backing up of saved files, and the ability to change to a different software if the composer wishes.
The SE/30 on the other hand, functions mostly on proprietary software from now non-existent companies and manufacturers. Although in recent years much of this software has been made available in public domain through sites such as the internet archive (http://www.archive.org)
The community surrounding gameboy use is yet another reason why I chose to use it, with many ongoing “open”projects, such as the arduinoboy, pushpin device, pushpin software and MGB(midigameboy) software. The first two devices listed allow external control over the gameboy, and the two pieces of software work in conjunction with them(arduinoboy may be used as a clock source or note control with lsdj, clock source for nanoloop, or have full midi control over MGB).
The SE/30 on the otherhand has only a small community, most of which have no relation to the chipmusic scene, or even music in general. Through my production of music using this piece of hardware, I hope to raise awareness of the platform and assist in the furthering of its use as a musical tool.
I chose to use Nintendo gameboy and an apple SE/30 as my main tools for this project, firstly for their ease of availability to me,having already owned both for some time I didn't need to seek out other tools to use for the production of my music. The gameboy in particular already has a large foothold in the chipmusic community due to its ease of availability, low cost replacement and the availability of software written for it. Software on this platform also has the possibility of being “flashed” to carts, a process where the software is written to the cart, allowing easy updates, backing up of saved files, and the ability to change to a different software if the composer wishes.
The SE/30 on the other hand, functions mostly on proprietary software from now non-existent companies and manufacturers. Although in recent years much of this software has been made available in public domain through sites such as the internet archive (http://www.archive.org)
The community surrounding gameboy use is yet another reason why I chose to use it, with many ongoing “open”projects, such as the arduinoboy, pushpin device, pushpin software and MGB(midigameboy) software. The first two devices listed allow external control over the gameboy, and the two pieces of software work in conjunction with them(arduinoboy may be used as a clock source or note control with lsdj, clock source for nanoloop, or have full midi control over MGB).
The SE/30 on the otherhand has only a small community, most of which have no relation to the chipmusic scene, or even music in general. Through my production of music using this piece of hardware, I hope to raise awareness of the platform and assist in the furthering of its use as a musical tool.
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