MADLIB is a player and library of 316 (!) game tracks from 21 games from the Sega Master System, Arcades, DOS and MSX2 era. This means you can use 8-bit samples! SID music plus FM-YAM digis! Coded by Mr.Mouse. Volume 1B adds over 700 songs to the library and improved compression of the original VGM files.Ĭompotune composed by Mibri using DO3, for the Gubb Data 2022 Other Music competition.Ĭompotune composed by Mr.Mouse using DO3, for the Gubb Data 2022 Other Music competition.ĭO3 is the latest version of the original DIGI-ORGANIZER, but with many improvements and bugfixes! In addition, you can use FM-YAM to play the samples instead of the SID. Maybe a bit niche, but I think it’s a worthy endeavor.MADLIB is a player and library of 1028 (!) game tracks from 106 games from the Sega Master System, Arcades, DOS and MSX2 era. ![]() In one form, this idea could be a GoatTracker-esque OP元 tracker, but I also would like something a little more low level that could be utilized in building demos or adding music to video games. Rather than a score that uses instruments (of the LSDJ/AT2 variety where all parameters are defined first) and commands, I’d like to begin by building subroutines within tables. SO, what I really want is an OP元 control utility that approaches scoring from a different angle. Adilb Tracker 2 provides some joy to me in that FM sounds unlike anything else, but building/loading instruments and controlling individual parameters with effects in the main tracker requires a lot more planning. GoatTracker2 is my go-to escape these days because I find it really cathartic to write notes on the left side of the screen and maintain an efficient pool of wave/pulse/filter commands. But so far the only ones that don’t make me want to bang my head against a wall are the SID trackers that were built to conserve memory by storing parameters and parameter changes in master tables. Trackers are great for when I want to write catchy little chiptunes or want a really tight sequence to bounce into another piece. I mentioned it above, but this is a direct link: įinally, I’d like to outline the first steps towards a vision or a goal that I have: I know any assembly language is a royal pain but I need to wrap my head around the whole register-writing method of synth programming. I think I’m going to take a bit of a break from my DOS/OP元 adventures and start playing with hardcoded SID songs in the Vice emulator for C64. I do have some idea of what I want to do now, though. These older, cheaper synth chips are marvelously efficient but almost completely alien to me. ![]() I’m very much a post-MIDI musician and often take for granted how simple and flexible control messages are nowadays. I was first attracted to this because I’ve had a lot of fun building drones and little sequences in Supercollider but craved the limitations that pushed me to get into music in the first place (I got into LSDJ and some SID emulation tools back in middle school). ![]() Control is done by writing to various registers. Adlib Tracker 2, for example, uses per-song variables to set drum mode on and off and “link” 2op channels to form 4op channels. There is also a 5 channel “drum mode” that uses 6 operators. 4op mode just cannibalizes the operators from another channel for more complex AM/FM stuff. The “default” is to have 18 2op channels. Here are the basics for the uninitiated: the OP元 has a max of 36 operators. The HTML “OP元 Programmer’s Guide” is probably where I’ll start doing deep reading and making notes. I found a nice little hub page here ( ) that illustrates this. Here’s what I know so far: compared to other computer/synth scenes, there’s almost nothing. ![]() I’m basically a layman relative to the active posters here but have been inspired to start diving deeper. I’m neck deep in finals, but have been doing some research and feel the need to procrastinate a bit.
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