Dj Jo first came onboard with GameChops in August 2012, contributing five tracks to The Triforce of Bass. Now, nearly a year later, he is back with a powerhouse new EP! Tales of EDM is four heavy handed dubstep, drumstep and complextro tracks based on the Tales of Symphonia score originally composed by Motoi Sakuraba and Shinji Tamura. Album art by Kortrex.
When we think of what sounds make up quality, memorable chiptune albums and songs, the SNES is probably one of the last systems we think about. However, when you think of the most memorable songs from the 16-bit era, the SNES, at least for me, is near the top of the list.
Sleepytimejesse aims to close that discrepancy with Spacious Anxious, which he describes as a “first-person space odyssey; episodes of awe and agoraphobia.” If you recently picked up Chiptune = Win vol 2, you heard his stand-out track, Riparian Woodlands, arguably the quietest song on the entire compilation, this delicate track recalled the mystical feeling of every 16-bit RPG you ever played. He’s also the author of the massive, Earthbound Soundfont. To my knowledge, it’s the most extensive SNES soundfont out there.
With Spacious Anxious, we get an album that’s both beautiful and menacing, spacious and claustrophobic, it all depends on the track. Using sounds from the SNES, N64 and GameCube, sleepytimejesse constructs an album that mostly sounds like boss battle music from Super Metroid interspersed with slower, soaring pieces that give you rest from the action and make me think of exploring some sort of foreboding alien temple.
What also sets this album about is the composition influences, it’s not a dance album, so don’t expect that. It’s clear that Radiohead is an influence with the track, “Anthem For A Plutoid”, which sort of sounds like Massive Attack remixed “National Anthem” on an SNES. The heavier tracks also have a bit of chugging Djent converted to 16-bit guitar samples. It’s great to see someone taking a fresh approach to chiptune music, not only with their platform choice but also with their style. Support this excellent effort and pick up a copy.
Beatscribe is a full time indie composer, musician and writer. By day he creates soundtracks and sfx for various mobile gaming companies, by night creates megaman-inspired chiptunes, in the afternoons he drinks tea. Check out his latest releases, tutorials and retro ruminations at www.beatscribe.com.
The HQ of any indie musician is is home studio. There are a myriad of options as far as monitors, computers, keyboards, headphones, mics and other equipment that you might need or want. However, most indie musicians have a limited budget for starting off. Today we’ll look at the bare minimum equipment you’d need to start making some quality tunes.
If posisble, it’s best to decide on what digital audio workstation you’ll use before purchasing any of these items since it will influence what kind of computer you need and what kind of software instruments you might want to purchase. Check out our previous article here on that subject.
As always, these are just suggestions based on a few independant musicians, myself and Cutman’s experience and input. There are always other options out there, but we’re focusing on how to get the most for your money.
In this article, we’ll look at some handy suggestions for your computer, MIDI controller, Monitors and Headphones. Are prices are rough estimations of average prices at the time of writing this, so make sure you shop around!
Computer
Beatscribe’s Mac-based home setup.
The heart of your your home studio is the computer. I’m not going to go into TONS of detail on this, it could be its own article. We’d recommend you get the most powerful computer you can afford. Few things are as intensive as audio processing on a computer. If you can get a SSD hard drive, this helps immensely in speeding up load times and giving you better latency, but it really isn’t needed to produce music.
Most DAWS systems work with dual monitors and most studio buffs will tell you they can’t live without two big flatscreens. Additionally, you’ll want a computer that has a good cooling system, ample storage space and all the normal things like antivirus protection and surge protectors.
Mac or PC?
The decision to get a Mac or a PC mostly depends on your choice of DAWS since not all are available on the Mac platform. If you do go with Mac, you will be closing the door on a lot of VSTi/VST technology that doesn’t play nice on a Mac. This includes useful chiptune tools like the VOPM vst for doing FM synthesis (Sega Genesis) sounds. I have an old laptop with Cubase on it just for the rare occasion I simply MUST use a VST. The bottom line is you’ll probably get more for your money from PC than with MAC.
MIDI Controllers
A MIDI Controller keyboard is not a necessity but it does make composing super easy and actually give you something tangible to “play” on. You could build everything in a tracker or your DAWS but having a keyboard is great for getting into the live vibe of making music even when sitting at home and composing on a laptop.
Good headphones are perhaps the most essential component of making quality music. You have to be able to hear what’s really going on in your tracks. Richard D. James, who has more rare gear than many other musicians combined, once said in an interview, “All you really need to make electronic music these days is a laptop and a good pair of headphones”. If you can’t afford anything but a computer and headphones, make sure you get one of these great pairs.
Monitors are essential to understanding what your song “really” sounds like. Home sound system speakers, PC speakers, car stereos and headphones all tweak the raw signal with extra bass and sometimes highs. This means that if you mix your songs relying on one of these systems, you may be over- or under-compensating for what the speakers do. Monitors produce unaffected audio that helps you know what your song actually sounds like in its most raw format.
Take the time to read up on positioning monitors correctly and how the room size and wall material effects the sound you hear. At first, you might not notice much difference by these elements, but they will have an impact on your final product.
If you plan to record acoustic instruments or perform live or sing, you’ll need a mic. The SM58 is a standard but decent quality mic for starting out. If you plan on tracking lots of live instruments, you might want to get a digital audio interface as well, but we’ll get into this in a future article too.
Now that you have your home studio built, you need to look at getting the right plugins for creating some awesome tunes, third-party programs for mastering and mixing, and a few other useful bits. We’ll take a look at this next time. As these posts continue, they’ll alternate between talking about the gear and technical topics and talking about the business and lifestyle side of things.
Beatscribe is a full time indie composer, musician and writer. By day he creates soundtracks and sfx for various mobile gaming companies, by night creates megaman-inspired chiptunes, in the afternoons he drinks tea. Check out his latest releases, tutorials and retro ruminations at www.beatscribe.com.
Monday night, the world got to hear 51 brand new chiptune songs for the first time on the 8bitX 8-bit Power Hour. Out of 146 different artist submissions, these colorful tracks made the cut. The listening party was well attended, not only by fans but by a huge collection of the artists as well. This review is actually going to talk about EVERY SINGLE TRACK!
It was clear by the reaction in the chat to every new track that there was not a bad song on this compilation. They’re all incredible upbeat and unique. Obviously a lot of time went into each and every one of them.
There is a huge amount of variety on this release. Talkboy, SubPixel and Apoc all contributed excellent Famitracker songs. There are also some great Genesis-styled FM Synth tracks from Snooglebum, Jameson Sutton and The Flight Away really bring back some Sonic the Hedgehog nostalgia for me.
What I was really impressed with are the LSDJ tracks. The Gameboy has become the most common chiptune instrument. That’s not a bad thing, but on some compilation tracks, the LSDJ tracks are often the weak links. That’s not the case here. Every LSDJ track stands out and holds its own. Auxcide and Zef both contribute totally epic LSDJx2 songs as well.
The slower tracks really stand out as well, sleepytimejesse’s SNES inspired Riparian Woodland, Viciosul SID’s and Foil Variant’s tracks also provide a nice break from the constant thump of awesomeness without sacrificing a moment of quality.
I really like how a lot of people are using new tools to create the classic sounds. I know some won’t agree, but I see this as a good thing. It keeps things fresh. No new synth is going to exactly match the NES or the DMG, but this adds new dimensions to the classic elements we all know and love. There is nothing here that suffers due to the fact it was created in a DAWs and not on hardware or a tracker.
I normally highlight just a few tracks when I review a compilation, and usually when I buy one, I end up deleting a few songs that just don’t do it for me. This is not the case with Chiptunes = Win Vol 2. There really is not a bad track on this entire album.
So I’m going to do something crazy and write a small review of every song on the whole thing (except my own, because that’s just tacky). Read on to get a quick look at each track!
Dj Jo first came onboard with GameChops in August 2012, contributing five tracks to The Triforce of Bass. Now, nearly a year later, he is back with a powerhouse new EP! Tales of EDM is four heavy handed dubstep, drumstep and complextro tracks based on the Tales of Symphonia score originally composed by Motoi Sakuraba and Shinji Tamura. Album art by Kortrex.
