Archive for the ‘minidata’ Category

Documentary on 80’s Japanese Game Composers

September 5, 2014

This documentary on Japanese game music from the early 80’s is interesting because:

  • It’s not exactly easy to get reliable info in English on the history of the Japanese chipmusic. But here you get interviews with experts like Hally and the original composers like Hip Tanaka.
  • It shows a little bit about the process. How these early 8-bit composers were designing their own waveforms, much like the Amiga chipmusicians in the 1990’s. I’m glad to see custom waveforms getting some love, and perhaps more people will learn about the massive 1990’s Amiga chipscene.
  • To see a notebook with drawn 8-bit waveforms talked about with so much love and affection, is pretty much all we need in life.

It’s the first episode in a series. The angle seems to be the influence of Japanese 8-bit music on contemporary dance music. Kode 9 is there, and he’s bound to say some very smart stuff. Still, these episodes will most likely leave out a lot of stuff that I (and probably you) think is relevant and important. But that’s probably how you get a proper budget to do these kinds of things, eh?

 

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After the Trackers: John Cage Bukkake

July 30, 2012

Trackers have remediated plenty of Western ideas of music. Typical time signatures (4/4) and tonality (12-TET) are the most obvious. Less apparent is the distinct separation between instruments and notation; sound and code. Most trackers force the users to make strictly defined instruments which sound basically the same every time it’s triggered. As such, trackers are essentially the opposite to modular synthesis, where anything can modulate anything (ideally).

Perhaps that’s why trackers never seem to go mainstream. They are too deterministic and controlling. Too manual. The contemporary way is to have fun with stuff you can’t understand: nothing is a mistake á la Cage. It’s okay too be lazy, 2 cool 4 skool. So trackers like Renoise are going that way too, and seems to be getting pretty bloated in the process.

In a similar way, some of the most talked-about chipmusic tools are not trackers. New physical interfaces like Gatari and C64 keytar are obvious examples, but sometimes software also gets some attention. Nanoloop, of course, can be seen as a precursor to the now popular grid interfaces. Viznut’s Ibniz is more of a mathematics tool, but it got a lot of attention earlier this year. It’s been designed to make text-based generative works with a tiny filesize (sometimes called ?bytebeat). Since Ibniz works with both visuals and sounds, it also blurs the boundaries between visual interface and content, like little-scale also demonstrated a few days ago.

For me it seems clear that visuals and music will melt together in new forms of interfaces in the future. Let’s look at two experiments that can give some pointers for the future of low-tekk composing: Gijs Gieskes’ TVCV-sequencer and Chantal Goret’s mouse-controlled Crazy Box!

Music for Twitter?

October 1, 2011

So first Viznut and friends did some experiments and put it in a YouTube-clip. Then there were threads at Pouet and chipmusic.org, and eventually it even popped up in places like Motherboard. Then there was another video:

This is all about tiny pieces of C code that generates 8-bit music. Mega complicated haXXor stuff. But you don’t have to understand it to like it. In fact, you can even make it yourself. Just copy stuff here, paste it here and then change some numbers. Don’t forget to copyright it!

This seems less hardware-dependent than minidata things usually are. So perhaps it could be some new kind of sonic Twitter art, like I tweeted little-scale’s Arduino music (mp3). Good luck everybody! Waiting for the first compilation…