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.
Hello all and thank you for reading The ChipWIN Blog!
In the last issue of this column, we tackled the infamous 5.1.0 LSDJ update and dwelled on the theory of what it brought to the table. To cut it short, it all boiled down to a complete redesign of Pitch behaviour. What the community did not expect, was all the ramifications and ripples it would have, and it ended up being a highly controversial update, to which many would actually choose to turn a blind eye.
If you haven’t already, I suggest reading the first part of this article before delving into this one, just to get familiar with what’s at stake. In this second part, I will first spend some time going over the specifics of the all-new L command also introduced in 5.1.0. Then I will go over how I view the anatomy of Kicks. And then, finally, I will try to get more practical, and give several examples of how to work with LSDJ 5.1.0 and above to utilize all these new features to the fullest.
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.
Greetings and salutations my chiptune enthused fellows, and thank you for joining me for a second go around at the Forge. This month, I find myself reflecting on the mix of LSDJ and AdlibTracker2 tunes contained within ‘Erasable Programmable Read Only Memories’ (which I’ll shorten to ‘EPROM’) by Diode mA.
Hailing from Chicago, Illinois, Diode got his start working with synthesizers in 2009, and transitioned into working with FM Synthesizers in late 2011. This work led to the discovery that many of his beloved FM Synths were chips. Of them, his favorite was the OPL3, a.k.a. the Yamaha YMF262, the auditory heart of any sound device remotely related to a Creative Soundblaster and near cousin to the YMF2612 powering the Sega Genesis.
Did you guys have one too?
From there? To use the man’s own words, “it all just rolled down, and I was just a straight-up chip musician.”