¡Hola, soy Defense Mechanism! Bienvenidos a la primera entrega de Intense Tech, donde daremos un vistazo detallado a algunas de las características de LSDJ para continuar con el espíritu de la “Charla Tecnológica de Paul”. Mi objetivo es compartir conocimiento y sabiduría que pase a las siguientes generaciones de chiptuners, ¡la intención es crear un ejército de maestros en el bleepbloopin’!
El tutorial inaugural cubrirá lo qué se necesita para comprender el sintetizador del canal Wave. Específicamente los parámetros de Signal, Filter, Volume, Q, y Cutoff.
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Hello, I’m Defense Mechanism! Welcome to the first installment of Intense Tech, where we’ll take an in-depth look at some of the features of LSDj, picking up in spirit from ‘Paul’s LSDJ Tech Talk.’ My aim is to impart to you knowledge and wisdom to pass on to the following generations of chiptuners, thus creating an army of bleepbloopin’ masters!!
This inaugural tutorial will cover what one needs to understand the Wave channel synth! Specifically getting into the wave synth parameters of Signal, Filter, Volume, Q, and Cutoff.
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This month, I wanted to shed some light on a really cool and inspiring Atari ST creation I came across this week. Set free to the world on January 24, 2018, ‘Escape Return’ is both a digital and vinyl release by Swiss artist, STU. I listen to a lot of music and, friends, this one really captivated me.
Album art created by DAN from Bleepstreet for ‘Escape Return’.
Hey y’all! =) Been a spell since I published an interview here on the blog; the final quarter of the year rarely shows me any quarter. haha That said, I’ve a really good one to kick off 2018! Featuring a cat that’s been involved in and around chiptune longer than probably most of us, and in various ways: composing his own music, performing live, modding gear, and managing various communities. Everyone welcome to the blog, Timothy Lamb aka Trash80!
Hello beautiful people and thank you for reading Paul’s Tech Talk on The ChipWIN Blog!
Today we’re going to tackle one, if not THE most groundbreaking update that happened to LSDJ in the midst of all its crazy transformations. With 5.1.0, Johan Kotlinski decided to rewrite the entire pitch behaviour in LSDJ from scratch. For the sake of this article I’m going to try and keep an unbiased point of view. Even though I am pretty partial to the newer versions, I still use the older ones as well. But it’s safe to say that this update was probably the most controversial of all, and it ruffled a few feathers in the community.
In music in general, but more particularly from a software perspective in LSDJ, Pitch is a solid foundation on which a lot of elements are built. And even though LSDJ is a shining example of software ergonomics and accessible design, its complexity still gives it a bit of a learning curve. The 5.1.0 update shook things up so much that artists would either have to relearn a lot of tried-and-true techniques that would now work just as well but very differently, or refrain from upgrading altogether, deliberately missing out on later updates and bug fixes.
Long story short, for a lot of people, upgrading to 5.1.0 and above would break songs from older versions and render quite a few staple sound design techniques obsolete. Let’s take a quick look at what has changed and get a better grasp of the situation.
Hello everyone and welcome to the 1st article in the all-new ChipWIN Blog column: Paul’s Tech Talk! I’m Paul from the French Gameboy duo Pain Perdu. This column aims to follow-up and complement our Youtube tutorial video series on LSDJ. With LDSJ ver 4.9.5, Superhero Dev Johan K kickstarted a wave of very significant updates, which would later constitute a pretty comprehensive overhaul of the program.
Mimicking a feature that was present in other trackers such as Famitracker; 4.9.5 introduced a new instrument setting: TRANSP ON/OFF. Why is this important, you might ask? The answer to this question can be summarized into one word that in my opinion is a staple of Demoscene, Chiptune, and Tracker culture: “OPTIMIZATION”, or as Max and I like to call it, “cramming as much stuff into as little space as possible”.