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About lazygecko

  • Rank
    Kirby (+1500)
  • Birthday 04/14/1986

Profile Information

  • Location Sweden

Artist Settings

  • Collaboration Status 0
  • Software - Digital Audio Workstation (DAW) FL Studio
  • Composition & Production Skills Arrangement & Orchestration
    Drum Programming
    Mixing & Mastering
    Synthesis & Sound Design


  • Real Name Daniel Bärlin
  • Occupation Bum
  • Facebook ID 566915487
  1. Seeing as composers didn't have a choice in the matter when originally composing for the hardware, it's pretty safe to say that the interpolation is part of the artistic intent. I think with module-based music from Amiga and PC games the interpolation condundrum becomes more up in the air. Players from that era usually lacked any sort of filtering, but it's a standard feature today. Thus modern recordings of soundtracks (Like official OST releases or YouTube uploads) in those formats often end up with some form of interpolation active, which in many cases filters off the rough edges to a serious degree. I find this kind of aggravating since it often feels apparent to me that the aliasing is an intended part of the sound and not just a byproduct. One of the biggest examples I can think of is Isotoxin from Unreal. Here is a video of it with interpolation enabled:   And here is a recording I made from the original module without any interpolation: You can clearly hear just how excessively subdued the main distorted synth line becomes once you start filtering it. The aliasing adds so much brightness to it that it simply feels evident to me that this is how it was meant to sound in the mix, since you can at times barely even hear it in the full mix if all that aliasing is cut off.
  2. The Most Brazen Copyright Infringement I've seen

    At least back in the good old days, sham artists traced other people's works instead of just copypasting in Photoshop.
  3. I mostly just stick to the original 32khz rate and with filtering enabled. What higher sample rates bring to the table is entirely dependant on the nature of the samples and how they are used in the respective soundtrack. If it contains sounds that are often played at tones above the native pitches they are stored in, then it might sound a bit brighter. I think soundtracks with lots of simplistic waveform sounds usually benefit the most from this. But a soundtrack like Super Metroid, which mostly uses instruments stored at a high pitch at 32khz and are then downsampled, will not gain anything from that. Disabling or cutting back on interpolation is very hit and miss. I think it would generally follow the same rule of thumb I described above. Simple sounds might sound a bit sharper and crunchier with less interpolation which can arguably be a benefit. But the technical nature of a soundtrack like Super Metroid is actually just going to harm it and turn the whole thing into an aliased mess.
  4. Considering the nature of the problem, they would likely have run into the same kind of frustrations either way. Cartridge space standards were equal on both systems. And even though the SPC chip has twice as much RAM, in practice it is far more bottlenecked by it since it relies on samples for pretty much all audio, so depending on what you want to do the memory budgeting for instruments, sound effects, voices, etc can be very tricky. If you want to use lots of different samples it becomes no less of a problem, and the chip is also more rigid in that switching out samples on the fly is more limited and complicated.
  5. Once you analyze the music it's fairly easy to mark down the tracks pinned on the Jackson team. Knuckles' theme, miniboss music, Carnival Night, Ice Cap, Launch Base and the credits music. Tonally they are distinguished from the rest of the soundtrack in that they are less overtly melodic and fit with the kind of sound they had for the Dangerous album at the time. They are also heavily based on PCM samples, and they rely more on special samples unique to each track (compared to the rest of the soundtrack which just uses a standard shared drumkit for samples). The article also brings up that the main issue they had with realizing their vision was that they had to compromise too much on sample usage due to the memory and cartridge space limitations, since PCM inherently eats up a lot of that at an era where these things were a very precious and expensive commodity. The kind of approach they had to the music was just very unorthodox for the time (not samples in themselves, but rather amassing unique sets for each individual song which really balloons the file size), but since came from the outside with no experience working with console limitations you can't expect them to know that.
  6. Genre for Megaman X Style Metal?

      I found that Rippingtons track. It's called Earthbound from the 1989 album Tourist In Paradise. Of course, it's nowhere to be found on YouTube nor Spotify... I know I heard it on YouTube years ago, and fittingly one of the comments said it sounded like it came straight out of a MMX game.   It's Tony Macalpine.
  7. The Rockstar Extinction

    The entire structure of the music industry has been in upheaval the past 15 years or so. Music as a culture used to be much, much more heavily curated by a handful of very influential tastemakers, simply thanks to the technological status quo imposing limitations on reaching audiences. That's why all those old musicians have been propped up as untouchable legends. The market is so fragmented in its nature today that there is no real economic incentive to invest in the same magnitude as they used. Rock acts today can very much thrive within their own insulated scenes, and consumers have the means of keeping up at their own initiative online. It's all just part of the greater misconception of today's music industry since we are collectively still projecting an outdated paradigm which has in reality not been relevant for many years. But since this particular paradigm was simply a fact of life over the course of several generations, it's easy to think that's just how it's always meant to be.
  8. Session Horns might be in bundled with Komplete now, I dunno, but as a Komplete 8 owner I had to purchase it. Brass sample libraries usually rack up an insane amount of gigabytes since these are some of the most wildly expressive instruments in existance, with a ton of different articulations you need to account for. That's why it probably makes more sense to approach virtual brass via physical modeling synthesis rather than sampling. I think there are a couple of those on the market.
  9. Genre for Megaman X Style Metal?

    Well, someone had to do it
  10. Difference in EQ Plugins?

    I don't think it really matters. Not from a "sound" perspective anyway. Just use what you feel comfortable with from a functionality and interface standpoint. Marketers will try their darndest to tell you otherwise though, of course.
  11. Genre for Megaman X Style Metal?

    There's also lots of faster, more rock/metal-like jazz fusion which has always been a heavy influence on Japanese game music. I remember hearing some fast fusion track from the late 80's which sounded like it came straight out of Mega Man X, with the same orchestra hits and stuff. I think it might have been from Russ Freeman/The Rippingtons.
  12. eSports

    I don't know if these old media companies really have what it takes to catch up with the momentum services like Twitch have at this point.
  13. Undertale

    The game had a second big uptick in popularity after being featured prominently on several GOTY lists. What's interesting, and also kinda sad, is watching all the psychological "backlash" unfold on the internet. You've got everything from "This game is just cynical tumblr hipster bait. Wake up sheeple!" to "I liked Undertale before it was cool! You're just a bandwagoner!" Apparently just enjoying a game on its own merits is really difficult these days.
  14. This sounds like something Chris Hülsbeck would have made. The fact that Chris is in the file name also lends credence to this. He was involved with developing audio compression technology for the GBA which was licensed out to various developers.
  15. Deconstructing old sequenced music and listening to the separate components is one of the most interesting things you can do, and an extremly efficient learning tool. Not just for learning how chiptunes were made, but just growing and becoming a better musician in general. Elements that sound very simple and detached on their own but fuse to become more than the sum of their parts, or just knowing when to kill your darlings (like getting rid of the root note of a chord to save channel space, which the bass is already playing anyway) is not just a chiptune thing but also arrangement 101 and ultimately a means to getting a well balanced mix (since arrangement and mixing is largely intertwined). I feel as though it's a skillset that is becoming more and more rare in today's production climate. Top-tier arrangers do this kind of stuff all the time even when they're not beholden to technical limitations. I think it's worthwhile for any musician, no matter what genre, to dabble around with chiptunes. And by that I mean specifically working with getting the most out of these constraints and not just resorting to "bleeps and bloops" which is the usual reductive thinking applied to this type of music. It's such a great way of training yourself in these elements and really start thinking actively about them overall. I have provided 2 "stem" archives for some Genesis soundtracks I find technically interesting, by just isolating the channels and rendering them into .wavs so you can load them all up in a DAW and thoroughly analyze what's going on in them. You can do this yourself using the [url=]in_vgm plugin for Winamp with anything from [url=]Project2612 Notice how the rhythm guitar here is split up into 2 layers with different sounds. One for mids and one for treble. Then these are "dubbed" once again and panned (as well as detuned slightly for a chorus effect), taking up 4 channels in total to create this huge wall of guitars that is pretty much equivalent of a fully fledged studio metal production. I really like how the simple PSG squares synergize with the FM bells here to create a very vibrant sound. You can also hear how the "choirs" are really the same kind of synth string section you often hear on the system, but it just has this fast upwards pitch bend in the attack which adds this kind of formant quality to it that we usually associate with voices.