Cool stuff! The stuttery effect on the melody at 1:33 was a neat surprise.

Cool stuff! The stuttery effect on the melody at 1:33 was a neat surprise.

no yea it's solid for a first try on SID.  never tried myself, but all the cross-track modulation and shared filter make for interesting sound design options

no yea it's solid for a first try on SID. never tried myself, but all the cross-track modulation and shared filter make for interesting sound design options

I've tried making something on the C64 as well in the past few weeks (well, the C64 core on the Mega65), but none of my attempts turned out as well as yours did! Respect!

I've tried making something on the C64 as well in the past few weeks (well, the C64 core on the Mega65), but none of my attempts turned out as well as yours did! Respect!

Into this. Sounds grwt
What's your workflow like for this? What software do you use?

Into this. Sounds grwt What's your workflow like for this? What software do you use?

This is brilliant! Nice sound design, catchy melody and a solid groove. Mad respect.

This is brilliant! Nice sound design, catchy melody and a solid groove. Mad respect.

Happy to answer the question, I like talking about workflow. I use Furnace tracker, which is a multi-system tracker with resizable GUI, and chip mix and match capability.

Typically I start with basic session cleanliness; setting song Speed and Divider which gives me the right tempo. That or adjusting clock speed, which I do a lot though changing clock speed is often not chip accurate if that's a concern. Virtual tempo creates a more hitching tempo so I usually don't mess with that. This one's around 187 so I've 2x the rows for a roughly 90bpm tune for more granular subdivisions (32nds in this case).

Then it's onto sound creation which is a combination of looking at demo tunes and borrowing choice instrument patches. I tend to swipe hard to create percussion like in the case of the kick in the second half, and then creating some new patches and adjusting to taste. I'll often start with a "base" say hat or snare and then make shorter and longer variants to swap more easily (i.e. does this sound good when it's interrupted, is it good for fast passages). Then I'll put a few sounds through the paces to see how they perform when they're interrupted by a new sound [muted (Tab = OFF) (~ = Release note)]. I've been working with chiptunes a lot over this and WB2024 and I've become quite fond of irregular behavior; one channel affecting another, extreme ends of the pitch and filter spectrum sometimes causing noisy effects, an FM patch that has strange harmonics along the scale, that sort of thing.

On a separate work session I'll start with some core idea, in this case it was hearkening back to 90s hip hop with a strong kick/snare (Can of Kick Ass by Mix Master Mike comes to mind), though other times it's a bassline or melody and then I just play with and build ideas around what I've got. The key to the tracks that I end up liking better is mostly time. If I don't give myself enough time to sit with it after it's been written initially, I don't get enough time to shift into more of an editing phase to refine ideas.

[quote=sandyMclandy]Into this. Sounds grwt What's your workflow like for this? What software do you use?[/quote] Happy to answer the question, I like talking about workflow. I use Furnace tracker, which is a multi-system tracker with resizable GUI, and chip mix and match capability. Typically I start with basic session cleanliness; setting song Speed and Divider which gives me the right tempo. That or adjusting clock speed, which I do a lot though changing clock speed is often not chip accurate if that's a concern. Virtual tempo creates a more hitching tempo so I usually don't mess with that. This one's around 187 so I've 2x the rows for a roughly 90bpm tune for more granular subdivisions (32nds in this case). Then it's onto sound creation which is a combination of looking at demo tunes and borrowing choice instrument patches. I tend to swipe hard to create percussion like in the case of the kick in the second half, and then creating some new patches and adjusting to taste. I'll often start with a "base" say hat or snare and then make shorter and longer variants to swap more easily (i.e. does this sound good when it's interrupted, is it good for fast passages). Then I'll put a few sounds through the paces to see how they perform when they're interrupted by a new sound [muted (Tab = OFF) (~ = Release note)]. I've been working with chiptunes a lot over this and WB2024 and I've become quite fond of irregular behavior; one channel affecting another, extreme ends of the pitch and filter spectrum sometimes causing noisy effects, an FM patch that has strange harmonics along the scale, that sort of thing. On a separate work session I'll start with some core idea, in this case it was hearkening back to 90s hip hop with a strong kick/snare (Can of Kick Ass by Mix Master Mike comes to mind), though other times it's a bassline or melody and then I just play with and build ideas around what I've got. The key to the tracks that I end up liking better is mostly time. If I don't give myself enough time to sit with it after it's been written initially, I don't get enough time to shift into more of an editing phase to refine ideas.

Workin’ that Sucka InDeed! Def would only be playing this game in music only mode, who needs SFX?!  I Gotta mess with this chip more and not be intimidated by the filters.

Workin’ that Sucka InDeed! Def would only be playing this game in music only mode, who needs SFX?! I Gotta mess with this chip more and not be intimidated by the filters.