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The electronica genre at large has never concerned itself with small soundchips found in game consoles. Sound synthesis, resampling, and electronic music in general was conceived long before and not even in direct relation before or after the advent of chiptune music. To say electronica would not exist without chiptunes is simply historically inaccurate. Chiptunes have nothing to do with the advancement of electronic music since synthesizer technology has been created and developed for years completely independent of what game soundchips were doing. The Moog was pioneered in the 1960s. That was when computers were still gigantic machines that lined the walls of a control room. This is of course except until the recent couple decades where emulating chiptunes became an appealing aspect of music and thus we started seeing it infused into our electronic music as an instrumentation choice. You could say chiptunes have had a profound (but latent) effect on the electronica genre as it's opened up opportunities to exploit the appeal of those nostalgic digital game sounds. It would be more accurate to say that without the advent of the analog synthesizer, game soundchips might not have existed; but that's the equivalent of saying if guns were not invented, we would still be using the precursor to guns. It's true if the premise is "if it was never invented and never could be for the purposes of the thought experiment" but false if the premise is more realistic such as "if it wasn't invented then, it would just be a matter of time until it was invented at some other time". If you prefer the former premise, it's not a very insightful thought experiment since it isn't based on critically analyzing patterns of reality.

Talk about spoilers. Thanks for ruining Tetris for me...

The People's Remix Competition 328 PRCv13-16 Hello everyone and Welcome to the People's Remix Competition! PRC326 was a special round, resulting in two sources (the winner of PRC325 selected the source for PRC327 and the winners of PRC326 and PRC327 selected a source for this round). Supercoolmike as the winner of the special anime round, Overkillius claimed the win in PRC327. Source 1: Source 2: Source 1: Touhou Imperishable Night (WIN) - Cinderella Cage - Kagome Kagome MIDI Source Information Source 2: Fire Emblem (GBA) - Requiem MIDI Source Information ThaSauce link: Click here to submit To submit a song at the compo page a ThaSauce account is required. If anyone has problems with registering or uploading the song to ThaSauce, please upload the song somewhere else and post a download link in the thread. I recommend Soundcloud, don't forget to allow downloads to enable me to upload the song at ThaSauce. To register and submit, do the following. Click the ThaSauce Link. Click the 'You are not logged in' button in the upper right. Click on 'register' (at the bottom). Read the terms and click 'I agree to these terms'. If you don't agree with them, upload the song somewhere else and post a download link as mentioned above (by doing that, you allow me to upload the song at ThaSauce. Continue the process by filling in your information. You will get a question to confirm that you're not a robot. Here are some possible answers: Name a compo: PRC Who organizes One Hour Compo: Starla Name a ThaSauce subdomain: compo.thasauce.net Who created Mega Mans: Capcom A confirmation mail will be send. There might be some issues with it (meaning that you don't get it), if that is the case, upload the song somewhere else as described above. Once registered, login with your username and password, go to the mentioned page and submit the song. If you want submit two or more songs you can create multiple ThaSauce accounts or upload the song somewhere else and post the download link. PRC instructions Limitations at ThaSauce require your entry to be 20 MB or less in size. Length for length's sake and MIDI rips are not allowed (only as Bonus Mixes). Entries must be posted in the by Wednesday August 10th 2016 at 10:59 am ThaSauce time (18:00 UTC, 19:00 GMT), check the ThaSauce page for the exact time left. You may enter as many mixes as you like and work with as many people as you like on each mix. You are free to create a second ThaSauce account for that, it's needed to be able to upload a second remix. You can also upload it somewhere else and put a download link in this thread Do not make qualitative comments on an entry until the results of the vote have been posted in this thread. Mixers cannot vote for themselves but if they vote they recieve a free first place vote added onto their score. The winner of this round may select the source for PRC329. To participate, only one of the sources has to be remixed, however a 3 point bonus is given to everyone who remixes both sources in one song. The winner of PRC326 and PRC327, Supercoolmike and Overkillius can take part by remixing the others source, remix both sources in one song (with the other source as dominant source) or remix their own track as a bonus mix. You can find the full rules list at this page as well. GOOD LUCK! PRC ThaSauce Home Page!

So beautiful. Alex has gotten just ridiculously good.

Reminds me of GrayLightning. Both because of the instrumentation and because it has "Phoenix" in the title. A word Gray also used in some of his ReMixes. This is a highly enjoyable piece. Certainly does the source justice. And it's from RoeTaka! (I still love his Chaos Legion track). A keeper!

Mmm, the balancing of the leads does help quite a bit. Glad to see you makin' progress. Just for shits and giggles, I'mma going to punch this thing up, and I'm going to go through every step it takes to get there. It's pretty much 100% on a whim, so lucky you! Long ass post for a single production tip ('cause it has pictures), so GET READY TO RUMBLE!! Alright, so first off here's a picture of your current mix - the waveform in all of it's glory. It's pretty cool, since it doesn't have any clipping, nor does it seem to have any compression or limiting artifacts (more on that in a bit). Look at all of that sound space, just sitting there unused! When there's silence for a solid majority of the track, it often means you need to work on making the track louder. With a little amplification, we can get a little bit of sound out of it, but not too much. That's because there are a few tiny peaks that cause clipping if you raise the volume too high. Clipping is almost always a bad thing, so we do want to avoid that as much as we can, but there's still so much space that we want to fill... Upon closer inspection, one can see that this particular point just touches the top - any louder and it'll cause the clipping. We don't want that! So, what to do? Why not tell the track that there's a limit to how high the maximum volume is, and force the peaks to hit that ceiling? Yeah, hard limit that sucker, using whatever limiter you have! (Audacity comes with a basic limiter in it's "Effects" drop down - that's all I utilized in this picture) Sweet, no more peaks! We can now amplify this considerably more without actually causing clipping, thus gaining the space that we've wanted all along. How does this look up close? Well, it depends on how you decided to limit it. There are generally two ways to limit a track - one can either give it a "soft" ceiling, which means the program does what it can to retain the original shape (which simply "softens" the sound at certain points), or one can give it a "hard" ceiling, which doesn't shape the track at all, instead "slicing" the sound file once it hits the ceiling. Both have their advantages, and both have their particular ways of introducing artifacts when you rely on them too much, but with practice it becomes easier to hear what an acceptable level of limiting is. This is a nice example of soft limiting - it retains the shape, softens the sound at those points so nothing goes above the ceiling This is a solid example of hard limiting - the peaks become flat once they hit the ceiling. The music doesn't soften, but the artifacts sound like clipping if they become too prominent. Once the peaks are out of the way, amplifying the sound to its limits gives you a greater deal of sound, filling the spaces almost entirely. The moments that peaked once before now don't have nearly the difference between parts as it once did. While this can create a homogeneous sound which lacks some of the clarity of an untouched track, often those few peaks contribute little to the track, and instead make the rest of the track quiet, by comparison. In this case, one can easily hear how much can be gained by utilizing limiting and amplification. That being said, even with soft limiting it's easy to go too far with it, ruining a once solid track. Take a good, hard look at what happens when you have too much of a good thing. There are no peaks, and everything ends up sounding like a homogenized mess. While following one's ears is always best, there's a good rule of thumb to follow as far as figuring out when you've gone too far. "When your waveform looks like a sausage, it's cook'd". When you limit, don't start a sausage party. Limit responsibly, take a few peaks down a notch and magic can really happen. Hope this helps! (All pictures are from Audacity, printscreen'd and saved using Bitmap)

I am a big fan of solo piano arrangements, and this is no letdown. It is well paced, and I love how effortlessly it flows from source to source. I especially like the parts with Aryll's theme, it sounds quite nice in 3/4. Mabe village is also very gracefully incorporated, and I love the hint of Zelda's theme towards the end. A very well crafted piece. I'd lie if I said it didn't make me feel a little nostalgic. Also, I like the title:)

Surprised no one's mentioned Dead or Alive Xtreme yet.

Oh, is this one of my favorite tracks from one of my favorite albums posted on this site so far? I think it is. By the way, Cartography Bros. is one of my favorite albums posted on this site. Just sayin'. Liberal issues aside (it's got the spirit of the source, but Larry does have a point), this track just nails it. Incredibly well produced, the liberties really build off of the limited source that was there. There's not much to say - it's a great track. Go listen to it, then listen to that album. You'll not be disappointed.