Posts Tagged ‘8bit’

The Unicorn Princess Royally Reviews ‘Stratocracy’ by CZOFT

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Happy November, everyone!

This month, I wanted to review the recent release by Michigan native, CZOFT. ‘Stratocracy’ was released on October 25, 2017, and features carefully crafted compositions created with lsdj. Featuring 15 tracks fully constructing within one Gameboy DMG-01, the album was released by Utah record label, Catskill Records (the same folks who host Catskill Electronics, a site where Gameboy composers can find their fair share of arduino boys, flash carts, sync components, etc.). This article with contain a review of a new record that I really love, and also share sound design tips straight from the artist for those who want to learn more about lsdj, as well.

Cover artwork by CZOFT, layout and design by Catskull Records.

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Stokin’ the Forge: ‘Hurrigwen’ by Square Punch

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Chipmusic Heroes veteran Square Punch brings us a little bit of the sentimental and a lotta bit of the fresh with his late October release ‘Hurrigwen‘. The album is three tracks of excellent collaborations, and six fresh new tracks to tantalize cochlear nerves and move feet. A couple of these collaborations appear on previous Chipmusic Heroes releases of which I’m a big fan. You should check them out, but today we’ll be honing in on Square Punch’s newest tracks down past the fold.

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Aydan Appreciates: ‘Chip Songbook Vol. 7’ by Yoann Turpin

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You like jazz? I sure do. Jazz music is the foundation for numerous music genres nowadays, including progressive, funk, swing, world fusion, and… chipjazz. Of course, the one that’s likely the most relevant to our community is chipjazz, and what would the genre be without one of its greatest contributors, Yoann Turpin? An extremely prolific and talented artist, Yoann has been featured several times on the blog, and for good reason; his music is beautifully composed, catchy, and impressive in every sense of the word. Just last month he released ‘Chip Songbook Vol. 7’; the name alone is a great example of just how much music this artist has put out, and this is just as wonderful an album as the many others that he’s put forth. What aural fables lie in wait for us? There’s only one way to find out!

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Paul’s Tech Talk – LSDJ 5.3.5_4x Part 2: Sandpaper vs Eardrums

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Hello all and thank you for reading Paul’s Tech Talk on The ChipWIN Blog!

This article is the second part of an issue on the spicy topic of PSG Chip Overclocking. In the first part, we tackled the basic theory behind what overclocking could achieve on an NES when ticks sped up enough to reach into the audio range. Today, we’re going to try and be more specific, and try out some practical examples on Gameboy.

While audio range speeds can be achieved at high tempos on stock LSDJ, we’re going to try and venture beyond that, thanks to the very unique test build of LSDJ: 5.3.5_4x, which multiplies tempo by FOUR.

Let’s dive in!

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Guérin’s Dissections: ‘Nouvelle Lune’ by Pain Perdu

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Pain Perdu showed up out of nowhere last year on Chiptunes = WIN Volume 5, surprising everyone with their expert knowledge of LSDJ and their capability to pull amazing, seemingly impossible sounds out of a single Gameboy. Comprised of two Frenchmen—Maxime Roulleaux and ChipWIN’s own Paul Aupetitgendre—this duo lives in Paris and is pushing the French chipscene forward, giving it a fresh face. They have been instrumental in the recent spat of updates that LSDJ has undergone, helping to shape the instrument they’re taking the time to dissect and master. In their debut EP, ‘Nouvelle Lune’, released on Cheapbeats, Pain Perdu demonstrates just what they’re capable of. After a month off, I’m excited to get back to showing you all the best that chiptune has to offer.

~̷̗́̆͐ͅ|̵̩͔̪̠͆̎̎͆͐͝o̵̙͉̜͗͌͐͂|̶̢̡͕̈́̅~̴̭̥͔́͋͆͑̅|̷̨̘͉͚̝͋̏̀͗̎͜Ó̴̧̙̰̞͋͊̀͝|̸̠̜̲́͑͑͒~̸͍͖̘̮̥͑͋̋̅|̸̮̖́̈́̃̚͝o̶̦̝̗̭͜͝|̶̗̦͙̼̔̏̀̒͘͠~̵̮̂̀̍͆̀|̵̣̈́̊́Ȯ̸̯̘̠̝̈́͝|̷̗̎̅͐̄͌͝~̸̝̻͙͆̑͆̇͘̚|̸̻̮̣͙̞̄ö̶̦̭̝̳̰́̀ͅ|̶̢͇͍̭̋̅ͅ~̷͕̳̅͌̈́͒|̶̰͚̞͉̎̊͠ͅƠ̵̱̭̝͚͆̽͐̃̚|̶̢̨̧̮̖̉̋~̶̢̢̤̀̓̉̀͠ͅ|̴͚̯̓̽ͅọ̴̺̟͍̪̖͒̑͂̓|̶̜̞̦͗̈̎̉̐~̷̨͂͒̍̅̔̀|̸̟͚̫̙̰̗̆̎̈́O̵̧̘̫̎̀͐͌ͅ|̸̤͍̣̤̍ͅ~̸̣̽|̸̤̬̱͓͔̈́̓̈́ȫ̴̹̦̒|̵͔̼̀̄̂͋̉̈́~̶͔̥̌̐͛͐͆͠|̶̲͉̈́̂̑͝Ŏ̸̭̣̾͠|̵͙̪̃~̵̱̤̬̤͇̖̅|̷̝͑̀̐͌̿̓ō̵̦̱͎̹̈́̔̓̇͠|̸̡̬̅͛̈͠~̴͔̪̙̉ͅͅ|̶̨̰͎̝̂͒̄̈́̚ͅŎ̵̧̞̖̬͚̳̈́̐̐̅̌|̸͉̈́~̸̧̼͕̙̅|̸͕́̄̈́͑͋̐ơ̶̢͔̙̎͊͂͠|̵͚̠̮̤͖̭̃̓̉̂͝~̶̗̯̜̰̻͈̅̽̅͂͂|̶̛̘̬͓̈́͂Ö̵͇́|̷̬͎͚̳̪̯͋~̶͚͙̅͆̈́̔͠|̷͕̺̔̈́̈́ǫ̵̮̤̬͖̫̾͊́|̴͈͔̿͆~̷̺̟̜̅͊̈́|̵̯̟́Ǒ̶̖̗̺̍|̸̺̬̰̅ͅ~̴̳̌́̿̎|̶̘͔̟̼̏̅͛̄̂͜ǫ̶̤͆͜͝͝|̶̖͕̔̉̎͆~̶̖͆̓̇͝|̶̛̞̟̆̅̇̑̔Ȏ̸͓͔̯̭̝͌̿̏̚ͅ|̴͍̇̕~̴̳̯͝|̸̨̭͈̾̈́̏̆̿̏ͅȏ̵͚̩͆̏͌͊̈|̴̛̫̝̙̹͎͂̕͝~̶̪̈́͋̾͠

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Progression: Music Theory 106 – Secondary Dominants, Modulation, and Temporary Tonicization

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Hey dudes and dudettes,

Tuberz here with my sixth article in the realm of music theory, and the underpinnings of musical witchcraft (knowing lots of cool chords and stuff). Last month we covered the idea of chord substitution from the natural chords found in our modes in an attempt to jazz up our chord progressions to provide a more lush harmonic landscape. By this point my articles may be very hard to follow if you don’t have prior theory knowledge, so it is my strong recommendation for you to you go back and read my previous articles. This article is going to cover the use of secondary dominants in an attempt to solidify chord structures, modulate to other keys and harmonic areas, and temporarily set our tonic to a different chord.

Let’s jam.

Surely you must be running out of images of notation by now. It’s definitely a bit of a niche.

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