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it is a musical movement there is a comunity and everything.
As most of it seems to be people writing funny songs about video games, and not enough people using the resources to write good songs. Notably, have you heard Firebrand Boy? He's fantastic.
I dont know to much about chiptune really but I think there has been alot of crossover into other genres. People like Quarta 330 and as I found out on here a while back Toasty, who both kind of work in and around the dubstep scene at the moment have a big chiptune background.
this guy sounds pretty cool I just had a google.
very talented but an utter prick..one maaassive prick
only the people making chiptune big him up which is a shame...because he codes the tools most of them are using..
are you in london?
i now you aren't jimi...ozy?
European music media focuses on the happy hardcore gameboy kiddies though therefore the damage is done.
Venture out of 8bc you get more diverse stuff...
northam and retinascan are two labels releasing the more challenging stuff.
However most of the pioneers from the demoscene don't want anything to do with chiptune and use elements in the genres that they are established in such as dj toasty in dubstep who doesn't really go on about his geeky past
anakirob, stu, crazyq, ovrthrstr for the good stuff..
and ahem...me http://myspace.com/d0us
a story of a tiny part of chiptune smothering out the other styles
came and went...it's over i guess....all that remains are fruitylop kids that will get bored on myspace and the demoscene.
The rest have moved on
you can definatly hear the influence in alot of electronic music at the moment. Even if they arn't programing and kickin the shit out of gameboys you hear it everywhere. People like Samiyam, Slugabed, Ikonika and Gemmy all have a bleepy almost 8-bit sound mixed into their stuff.
but it will fall back into the lo fi mould again where it came from.
Remember a lot of digital hardcore bands like Ec8or and early drum and bass used the equipment used by chiptuners..but we don't call them chiptune do we? and i can see why toasty distances himself.
when he was doing chiptune...he was coding and conserving memory to allow space for the maths, the graphics as well as graphics...tha's why chiptune sounds like it does.
people are replicating that sound without the constraints that developed that sound which defeats the purpose.
but if you look at a lot of american break core artists---these people are chiptune in every way..i.e the techniques and equipment used is hte same...but they are not allowed in the chiptune 'club' because they don't do shit bleepy stuff
but there is a thread on 8bc started by a guy called random...basically showing up the sham that chiptune has become.
There lots of talented people using these machines in EVERY GENRE such as dubstep...but the reputable ones like to call it 'dubstep', 'noise', 'electro', 'house..even grindcore...only the posers call it chiptune
but my stuff uses exclusively an atari st because I grew up making music that way and i like the sound...ALSO...more importantly I release them as executables to be run on atari machines with my graphics etc...that is the main reason why i keep it 100% atari.
MY band uses the atari as a drum machine but i would never call the band chiptune even though I can argue the case
I guess a large part of the comunity has kind of established its self as the shit bleepy type and pushed everyone else out that are doing stuff a bit diffrent. I dont know to much about the inner workings of the chiptune world.
Chip music has its roots in the demoscene. The demoscene developed the idea of "cracking" a game and was basically all about software being shared in open-source format that could be extracted in parts by a user. The demoscene provided an opportunity for a user to show off what they could do with specific piece of technology, and this is essentially what chip music is.
Soundmonitor on the C64 was one of the most popular and significant tools for making chip music and that was developed in the late 80's. However, as "chip tune" music only really became popular in the early 00's, most people tend to consider it a nostalgic fad..
but I get your point and it is spot on
without thinking about how Malcolm McLaren banged on for a good long while about six years ago about how this new thing he'd discovered in secret underground caves in Paris played on Gameboys would become as big as punk, most likely when played by groups of Chinese teenage girls.
alvin, simon, theodore!!
it was cringing. I remember when he said he loved the "analogue misstiming" then germ wrote an open letter explaining that it's all digital and there is very little scope for misstiming even if you wanted it!