7/25/2023 0 Comments Milkytracker ring modulation![]() I don't have any specific kinds of sounds in mind, just to have enough core synthesis tools to make it fun and reasonably full-featured. ![]() The main purpose of this instrument is to be a standalone synthesis sandbox, and be small and focused. I'm all for "both" as well, but this exercise is applying to a modular instrument that I'm putting the finishing touches on, where I may not have that choice due to space constraints. What sounds do you hope to make/what's the synth's role? Lin FM and PWM can get you in the ballpark, but sometimes you need a folder. You can get sounds like RM via AM or filter FM, but certain wavefolder sounds are harder to find equivalents for. I now use wavefolding less for making mono-voices and more for feedback and distortion. Here's a quick couple youtube playlists since it looks like HN crashed the archiveĪnd the famous Nectarine demoscene streaming radio ġ - By third way I mean not really commercial, not open-source, just a sort of unstated public domain.I think this is a 'both' vote, but you don't have that option I like both. I think I once tried to get a rough assessment of the number of songs produced in the small community of tracker composers and it was well north of half-a-million songs.a literal life-time of music listening at absolutely no cost. Genres range from dance music to highly experimental stuff - sometimes by the same artist! And because there's never been a real commercial market for the music, the composers were very free to pursue their own musical interests. And nearly all that music was composed and released into the world for free. There are also some absolutely world class composers and songs in the pantheon - across a wide variety of musical genres. Tracker modules are generally very small, a megabyte is usually considered large. A tracker file should sound basically the same no matter what it's played on. It also ties the specific sounds in with the note data, leaving very little room for interpretation. And the "how" the composer encoded that expressiveness, how they used or abused the sample data, how they selected strategies around limitations of the format or software, is all present to see and learn from. ![]() There are fewer better forms of immediate performance from composition, and musical pedagogy, in one compact technological concept.īecause it ties composition and performance into the same conceptual space (what you write is literally what it performed), and trackers are generally loaded with different ways of manipulating the samples and instruments, there can be a rich expressiveness encoded into the music that far outstrips what a composer might encode using a traditional note-and-bar midi composition program. You can literally see the notes being played, listen to the samples one by one, and even edit the song files as you wish. ![]() Largely speaking the tools to create the music are the tools used to listen to it and an implicit ethos of "openness" exists. As such it exists firmly as part of a grand, but often forgotten, part of electronic music making. ![]() As a fully crystalized concept, it's around 35 years old! But it draws heavily on previous work in electronic music going all the way back to avant-garde experiments with reel-to-reel music crafting. What they share in common is not only a kind of technological approach to music formats, but an ethos to certain styles and kinds of music that seems to pervade across different generations of technology and artists. mod files there are quite a few variants. There are dozens and dozens of different formats, and even within 4-channel. Tracker music is one of the great generally unknown "third way" artifacts that arose from the Amiga and the demoscene. ![]()
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