A lot of people make the bassline (huehue) assumption that multiple musicians working together is automatically a band. While the vast majority of multi-man musical acts do come in the tried-and-true form of live-performance groups, the picture is much blurrier in the realm of electronic music characterized by digital production and playback. Due to the relative ease of collaborating piecewise with an individual thousands of miles away via the internet, you see things like features, remixes, and group handles all over the place. While this article is mostly aimed at getting into the “collab” side of things, most of what’s covered can be applied to anything similar enough.
So let’s dive into what a collab actually is, how it can help you grow, and how to manage the development of one!
Happy November, folks! For this month’s interview, I talked to a multi-instrument & multi-alias chipmusican & event curator friend of mine. This cat’s done quite a bit over the last handful of years (even more than I realized!), and shows no signs of stopping any time soon!
Welcome Lars Shurilla aka The Laohu/Immortan of SLC Chip!
Lars Shurilla aka The Laohu; photo by Neil Jarvie.
This year has been an excellent year for chipmusic using nanoloop. We’ve had a huge amount of releases ranging from the astounding ‘Geothermal’ by Classic Mistake, to the chilled as hell ‘Vanilla Dome’ by Glooms. This time we have Boaconstructor’s ‘Winds Of Null’. For context into ‘Boaconstructor’, he is a Seattle based musician who also runs ‘The Base bit’, one of the go-to net labels of chiptune. ‘The Base Bit’ have released a variety of accomplished albums such as ‘Refresh’ from Trey Frey, to ‘Steel City Zone’ by ‘HarleyLikesMusic’. It has been three years since ‘Boaconstructor’ has produced an album, with ‘Loop Dreams’ being released in 2015.
Whilst ‘Loop Dreams’ and ‘Winds Of Null’ were produced using Nanoloop, they are vastly different albums. ‘Loop Dreams’ focuses on using modulation to create weird and wonderful noises on a high BPM. ‘Winds Of Null’ on the other hand, focuses more on the bass, as well as detuning the melody and slowing down the music. For me I prefer Boaconstructor’s latest album, as I found it more accessible to listen to. The recording and mastering are also, in my opinion, much higher quality. Everything seems to pop better, with the levels balanced much better than ‘Loop Dreams’.
Hello, I’m Defense Mechanism and welcome back to Intense Tech! Join in as we explore the features of LSDj in depth with the ultimate goal of helping you, the reader, level up your understanding of the program!
In this tutorial we’ll continue covering what one needs to understand the Wave channel synth! Last time we covered Signal, Volume, Filter, Cutoff, and Q. This time we’re specifically getting into the wave synth parameters of Dist, Phase, Vshift, and Limit. We’re going to show you how to add some real noisy crunch to your wave sounds! By the end you should have a great idea of how to get any kind of sound out of the wave channel, from a silky smooth lead to a gnarly crunchy bass.
Hey, all you chipfans out there! It’s been a hot minute because a lot of HUGE things have been happening in my life [Editor’s note: congrats to Aydan on getting married! ♥], but I’m back with an OST review hot off the press! Dizzy Knight is a mobile game released in October 2018, and is highly reminiscent of SNES adventure games, both in graphical aesthetic and in its music. When Norrin Radd released the soundtrack a little longer than two weeks ago on Bandcamp, I knew I’d heard his name somewhere, and upon further sleuthing discovered that he’d written a track for one of the greatest chipmusic compilations ever released, ‘Noisechan and Nugget: Adventures in Chiptunes’. As evidenced by his SoundCloud and Bandcamp portfolio, he specializes in writing highly polished OST music; however, in his own liner notes, he reveals that the tracks on the ‘Dizzy Knight OST’ are more raw in nature. Let’s see what’s in store for us on this OST!