8-Bit Memoirs Issue #1 Are Therefore Oriented Around This Particular Computer
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Hugetrackermanual.Pdf
The HUGETracker manual introduction Hi, this is the manual to hUGETracker. I wrote this program because there wasn’t a music editing tool for the Gameboy which fulfilled the following requirements: • Produces small output • Tracker interface • Usable for homebrew titles • Open source But now there is! I’d like to acknowledge 1. Christian Hackbart for creating UGE, which serves as hUGETracker’s emulation core 2. Rusty Wagner for writing the sound code which was adapted for UGE 3. Lior “LIJI32” Halphion for SameBoy, a super-accurate emulator which I used for debugging and copied the LFSR code from 4. Declan “Dooskington” Hopkins for GameLad, which I yanked the timing code from 5. Eldred “ISSOtm” Habert, who helped me navigate the Gameboy’s peculiarities and for writing an alternative sound driver for the tracker 6. Evelyn “Eevee” Woods, whose article on the Gameboy sound system was valuable in writing the music driver. 7. B00daW, for invaluable testing and debugging support on Linux. 8. The folks who created RGBDS, the assembler used for building ROMs from songs. I hope you enjoy composing in hUGETracker, and if you make any cool songs, I’d love to hear from you and potentially include them as demo tunes that come with the tracker. E-mail me at [email protected] and get in touch! -Nick “SuperDisk” Faro Contents Prerelease information ...................................................................................................................................... 4 Glossary ................................................................................................................................................................... -
COMPUTER MUSIC TOOLS Computer Music Tools
Electronic musical instruments COMPUTER MUSIC TOOLS Computer music tools • Software for creation of computer music (both single sounds and whole musical pieces). • We have already learned about: – samplers – musical instruments and software for creating instrument banks, – MIDI sequencers – software for recording, editing and playback of MIDI codes, controlling other musical instruments (hardware and software). VST Virtual Studio Technology (VST) – a standard from Steinberg. • VST plugins: – VST effects: sound effects; they receive digital sounds and they output processed sounds, – VST instruments (VSTi): they receive MIDI codes and generate digital sounds (by synthesis, sampling, etc.) and they send them to the output, – VST MIDI effects: they process MIDI codes (rarely used). • VST host: a software that sends data to plugins and collects the results. VST instruments The task of a VSTi programmer is to: • write an algorithm that generates digital sounds (using any method) according to the received parameters, • create a user interface, • define MIDI Control Change parameters and their interpretation (how they affect the generated sound). A programmer does not need to worry about input and output functions – this is the task of the host program. VST host - DAW Modern VST hosts are digital audio workstations (DAW) • audio tracks: – recorded digital sound (instruments, vocals), – use VST effects; • MIDI tracks: – only recorded MIDI codes, – control VSTi or hardware instruments, – allow for sequencer functions (MIDI code editing), – a digital sound is created only during the mastering. Advantages of VSTi Why should we use VSTi and MIDI tracks instead of simply recording sounds on audio tracks: • we can easily edit MIDI codes (individual notes), • we can modify the VSTi sound by changing its parameters, • we can change the VSTi leaving the same MIDI sequences, • we can use many instruments at the time, the processing power of a PC is the limit. -
Metadefender Core V4.12.2
MetaDefender Core v4.12.2 © 2018 OPSWAT, Inc. All rights reserved. OPSWAT®, MetadefenderTM and the OPSWAT logo are trademarks of OPSWAT, Inc. All other trademarks, trade names, service marks, service names, and images mentioned and/or used herein belong to their respective owners. Table of Contents About This Guide 13 Key Features of Metadefender Core 14 1. Quick Start with Metadefender Core 15 1.1. Installation 15 Operating system invariant initial steps 15 Basic setup 16 1.1.1. Configuration wizard 16 1.2. License Activation 21 1.3. Scan Files with Metadefender Core 21 2. Installing or Upgrading Metadefender Core 22 2.1. Recommended System Requirements 22 System Requirements For Server 22 Browser Requirements for the Metadefender Core Management Console 24 2.2. Installing Metadefender 25 Installation 25 Installation notes 25 2.2.1. Installing Metadefender Core using command line 26 2.2.2. Installing Metadefender Core using the Install Wizard 27 2.3. Upgrading MetaDefender Core 27 Upgrading from MetaDefender Core 3.x 27 Upgrading from MetaDefender Core 4.x 28 2.4. Metadefender Core Licensing 28 2.4.1. Activating Metadefender Licenses 28 2.4.2. Checking Your Metadefender Core License 35 2.5. Performance and Load Estimation 36 What to know before reading the results: Some factors that affect performance 36 How test results are calculated 37 Test Reports 37 Performance Report - Multi-Scanning On Linux 37 Performance Report - Multi-Scanning On Windows 41 2.6. Special installation options 46 Use RAMDISK for the tempdirectory 46 3. Configuring Metadefender Core 50 3.1. Management Console 50 3.2. -
Real-Time Music Tracking Using Multiple Performances As a Reference
REAL-TIME MUSIC TRACKING USING MULTIPLE PERFORMANCES AS A REFERENCE Andreas Arzt, Gerhard Widmer Department of Computational Perception, Johannes Kepler University, Linz, Austria Austrian Research Institute for Artificial Intelligence (OFAI), Vienna, Austria [email protected] ABSTRACT e.g. [9, 19, 20]), is to start from a symbolic score represen- tation (e.g in the form of MIDI or MusicXML). Often, this In general, algorithms for real-time music tracking di- score representation is converted into a sound file using a rectly use a symbolic representation of the score, or a syn- software synthesizer. The result is a ‘machine-like’, low- thesised version thereof, as a reference for the on-line align- quality rendition of the piece, in which we know the time of ment process. In this paper we present an alternative ap- every event (e.g. note onsets). Then, a tracking algorithm proach. First, different performances of the piece in ques- is used to solve the problem of aligning the incoming live tion are collected and aligned (off-line) to the symbolic performance to this audio version of the score – thus, the score. Then, multiple instances of the on-line tracking al- problem of real-time music tracking can be treated as an gorithm (each using a different performance as a reference) on-line audio to audio alignment task. are used to follow the live performance, and their output is In this paper we follow a similar approach, but instead combined to come up with the current position in the score. of using the symbolic score directly, we propose to first As the evaluation shows, this strategy improves both the automatically align a recording of another performance of robustness and the precision, especially on pieces that are the same piece to the score. -
Hi Quality Version Available on AMIGALAND.COMYOUR BONUS SECOND CD! Packed with Games, Anims, ^ 3D Models and M Ore
' A G A EXPERIENCE Hi Quality Version Available on AMIGALAND.COMYOUR BONUS SECOND CD! Packed with games, anims, ^ 3D models and m ore... P L U S n @ AMIGA • J U T D J t 'jJUhD'j'jSxni D W This commercial CD is packed with AGA games, 9771363006008 ^ demos, pictures, utilities, 3D models, music, animations and more 9 771363 006008 Please make checks to COSOFT or O (01702) 300441 n 300441 order by credit card / switch & delta Most titles are despatched same day. ^ ^ - 5 217 - 219 Hamstel Rd - Southend-on-Sea, ESSEX, SS2 4LB Vat is INCLUDED on all titles, e&oe q . ^ er [email protected] Give us your email for monthly feb Page: Hnp://www.pdsoft m updated catalogue reports. Office & Retail Outlet open Monday to Saturday 9:30 to 7pm - Tel (01702) 306060 & 306061 - Fax (01702) 300115 Please add 1.00 per title for UK P&P & 2.00 for oversea's Airmail - Order via email & get the most upto date prices. Check our Web pages (updated every day) for special ofers and new releases. Special offers running every day. JUNGLE STRIKE SPECIAL FEATURE (1 4 .ff CAPTIAL PUNISHMENT Only (24.99 688 ATTACK SUPER SIOMARKS LEGENDS LURE OF THE SUB (12 DATA DISK (S B * f 17.BB T.TRESS (12 SABRE TEAM PLAYER ON MANAGER 2 OOYSSEY 1199 RUGBY SYNDICATE ( 12.M EURO KICKOFF 3 Hi Quality Version Available on AMIGALAND.COMC7.BB INTER OFFICE UPNtl BLACK CRYPT M r ( I f f * Me (11.00 INTER SPREAD WORLD CUP M r ( 9 99 Inc SOCCER CM2 - (3.99 A ll - (3 99 IN TER WORD K240 (7.U M r u n w CHESS SYSTEM SCREEHBAT 4 Give us a ring if you do not see what you want ACTIVE STEREO Some titles are limited and will go out of stock quickly. -
Radium: a Music Editor Inspired by the Music Tracker
Radium: A Music Editor Inspired by the Music Tracker Kjetil Matheussen Norwegian Center for Technology in Music and the Arts. (NOTAM) Sandakerveien 24D, Bygg F3 N-0473 Oslo Norway [email protected] Abstract Musical events are defined with pure text. Radium is a new type of music editor inspired by The event C#3 5-32-000 plays the note C the music tracker. Radium's interface differs from sharp at octave 3 using instrument number 5 at the classical music tracker interface by using graphi- volume 32. The last three zeroes can be used cal elements instead of text and by allowing musical for various types of sound effects, or to set new events anywhere within a tracker line. tempo. Chapter 1: The classical music tracker interface The tables are called patterns, and a song and how Radium differs from it. Chapter 2: Ra- usually contains several patterns. To control dium Features: a) The Editor; b) The Modular the order patterns are playbed back, we use a Mixer; c) Instruments and Audio Effects; d) In- strument Configuration; e) Common Music Nota- playlist. For example, if we have three patterns, tion. Chapter 3: Implementation details: a) Paint- a typical song could have a playlist like this: ing the Editor; b) Smooth Scrolling; c) Embed- 1, 2, 1, 2, 3, 1, 2. ding Pure Data; d) Collecting Memory Garbage in C and C++. Chapter 4: Related software. 1.1 How Radium Differs from the Classical Tracker Interface Keywords Radium4 differs from the music tracker inter- Radium, Music Tracker, GUI, Pure Data, Graphics face by using graphical elements instead of text Programming. -
Mastering Amiga AMOS to Phil South ISBN: 1-873308-19-1 Revised Edition: May 1993 (Previously Published October 1992 Under ISBN: 1-873308-12-4)
Applicable to all Amigas Easy and Powerful Programming Hands-on Tuturial and Guide 1 . I Bruce Smith Books astering Amiga A OS Revised Edition Phil South Bruce Smith Books Mastering Amiga AMOS to Phil South ISBN: 1-873308-19-1 Revised Edition: May 1993 (Previously published October 1992 under ISBN: 1-873308-12-4) Editor: Mark Webb Typesetting: Bruce Smith Books Limited All Trademarks and Registered Trademarks used are hereby acknowledged. E&OE All rights reserved. No part of this publication may be reproduced or translated in any form, by any means, mechanical, electronic or otherwise, without the prior written permission of the copyright holder. Disclaimer: While every effort has been made to ensure that the information in this publication (and any programs and software associated with it) is correct and accurate, the Publisher cannot accept liability for any consequential loss or damage, however caused, arising as a result of using the information printed herein. Bruce Smith Books is an imprint of Bruce Smith Books Limited. Published by: Bruce Smith Books Limited, PO Box 382, St. Albans, Herts, AL2 3JD. Telephone: (0923) 894355 — Fax: (0923) 894366. Registered in England No. 2695164. Registered Office: 51 Quarry Street, Guildford, Surrey, GU1 3UA. Printed and bound in the UK by Ashford Colour Press, Gosport. The Author Phil South is a writer and journalist, who started writing for a living in 1984, when he realised he couldn’t actually stand working for anyone but himself. He says his popular columns in magazines such as Computer Shopper, Amiga Format and Amiga Computing are much harder to write than they are to read. -
Computer Demos—What Makes Them Tick?
AALTO UNIVERSITY School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Markku Reunanen Computer Demos—What Makes Them Tick? Licentiate Thesis Helsinki, April 23, 2010 Supervisor: Professor Tapio Takala AALTO UNIVERSITY ABSTRACT OF LICENTIATE THESIS School of Science and Technology Faculty of Information and Natural Sciences Department of Media Technology Author Date Markku Reunanen April 23, 2010 Pages 134 Title of thesis Computer Demos—What Makes Them Tick? Professorship Professorship code Contents Production T013Z Supervisor Professor Tapio Takala Instructor - This licentiate thesis deals with a worldwide community of hobbyists called the demoscene. The activities of the community in question revolve around real-time multimedia demonstrations known as demos. The historical frame of the study spans from the late 1970s, and the advent of affordable home computers, up to 2009. So far little academic research has been conducted on the topic and the number of other publications is almost equally low. The work done by other researchers is discussed and additional connections are made to other related fields of study such as computer history and media research. The material of the study consists principally of demos, contemporary disk magazines and online sources such as community websites and archives. A general overview of the demoscene and its practices is provided to the reader as a foundation for understanding the more in-depth topics. One chapter is dedicated to the analysis of the artifacts produced by the community and another to the discussion of the computer hardware in relation to the creative aspirations of the community members. -
GAME CAREER GUIDE July 2016 Breaking in the Easy(Ish) Way!
TOP FREE GAME TOOLS JULY 2016 GAME FROM GAME EXPO TO GAME JOB Indie intro to VR Brought to you by GRADUATE #2 PROGRAM JULY 2016 CONTENTS DEPARTMENTS 4 EDITOR’S NOTE IT'S ALL ABOUT TASTE! 96 FREE TOOLS FREE DEVELOPMENT TOOLS 2016 53 GAME SCHOOL DIRECTORY 104 ARRESTED DEVELOPMENT There are tons of options out there in terms INDIE DREAMIN' of viable game schools, and this list is just the starting point to get you acquainted with the schools near you (or far from you, if that’s what STUDENT POSTMORTEM you prefer!). 32 BEGLITCHED 72 VIRTUALLY DESIGNED NYU Game Center students Alec Thomson and Jennu Jiao Hsia discuss their IGF Award- VR has quickly moved from buzzword, to proto- winning match three game about insecurity type, to viable business. This guide will help you within computers, and within ourselves. get started in VR development, avoiding some common pitfalls. FEATURES 78 SOUNDS GOOD TO ME! 8 BREAKING IN THE EASY(ISH) WAY! Advice for making audio (with or without) How attending expos can land you a job. an audio specialist. 18 ZERO TO HERO Hey! You want to learn low poly modeling but 84 A SELLER’S MARKET don’t know where to start? Look no further! Marketing fundamentals for your first game. With this guide, we hope to provide a good introduction to not only the software, but 90 INTRO TO GAME ENGINES also the concepts and theory at play. A brief discussion of some of the newest and most popular DO YOU NEED A PUBLISHER? 34 game engines. -
VIDEO GAME SUBCULTURES Playing at the Periphery of Mainstream Culture Edited by Marco Benoît Carbone & Paolo Ruffino
ISSN 2280-7705 www.gamejournal.it Published by LUDICA Issue 03, 2014 – volume 1: JOURNAL (PEER-REVIEWED) VIDEO GAME SUBCULTURES Playing at the periphery of mainstream culture Edited by Marco Benoît Carbone & Paolo Ruffino GAME JOURNAL – Peer Reviewed Section Issue 03 – 2014 GAME Journal A PROJECT BY SUPERVISING EDITORS Antioco Floris (Università di Cagliari), Roy Menarini (Università di Bologna), Peppino Ortoleva (Università di Torino), Leonardo Quaresima (Università di Udine). EDITORS WITH THE PATRONAGE OF Marco Benoît Carbone (University College London), Giovanni Caruso (Università di Udine), Riccardo Fassone (Università di Torino), Gabriele Ferri (Indiana University), Adam Gallimore (University of Warwick), Ivan Girina (University of Warwick), Federico Giordano (Università per Stranieri di Perugia), Dipartimento di Storia, Beni Culturali e Territorio Valentina Paggiarin, Justin Pickard, Paolo Ruffino (Goldsmiths, University of London), Mauro Salvador (Università Cattolica, Milano), Marco Teti (Università di Ferrara). PARTNERS ADVISORY BOARD Espen Aarseth (IT University of Copenaghen), Matteo Bittanti (California College of the Arts), Jay David Bolter (Georgia Institute of Technology), Gordon C. Calleja (IT University of Copenaghen), Gianni Canova (IULM, Milano), Antonio Catolfi (Università per Stranieri di Perugia), Mia Consalvo (Ohio University), Patrick Coppock (Università di Modena e Reggio Emilia), Ruggero Eugeni (Università Cattolica del Sacro Cuore, Milano), Roy Menarini (Università di Bologna), Enrico Menduni (Università di -
Creating Chiptune Music
Creating Chiptune Music Little Sound DJ Tutorial By Haeyoung Kim (aka Bubblyfish) Table of Content LSDJ structure …………………………………………………………….3 Hexadecimal system ……………………………………………………..5 Screen structure …………………………………………………………. 6 Copy & paste ……………………………………………………………...7 Exercise ………………………………………………………………….8 Project Screen …………………………………………………………….9 Instrument Screen ……………………………………………………….10 Table Screen ……………………………………………………………..12 Groove Screen ……………………………………………………………13 Commands ………………………………………………………………..15 Helpful site ………………………………………………………………..18 Emulator key press ………………………………………………………19 What is Little Sound DJ? Little Sound DJ is a tracker -based music-making tool designed for Nintendo Game Boy hardware. There are 4 channels of audio available to be played simultaneously. Music is created by navigating through different screens with combinations of buttons similar to playing a video game. Game Boy Sound The Little Sound DJ has 4 bit resolution, four channels sounds. Chan1 (pulse): Square wave with envelop and sweep functions. Chan2 (pulse): Square wave with envelop function. Chan3 (wave): Soft synthesizer, sample playback and speech synthesis. Chan4 (Noise): Noise with envelope and shape functions. Hexadecimal Number System Little Sound DJ represents parameter values with hexadecimal system,’ base 16’ number system. Little Sound DJ Screen Structure LSDJ consists of multiple screens. Each screen has different functions. Song, Chain, and Phrase are used to compose and arrange a song, and instrument, table and groove screens are used for sound programming. Song Screen - the highest level of the screens where you construct a song by stringing chains together. Chain Screen – chains series of phrases. Phrase Screen - where the patterns are created. However, you cannot hear unless an instrument is assigned. Instrument Screen - allows you to create and modify an instrument by selecting different waveforms and changing parameters. Table Screen - where you can alter and automate the sounds of pattern or a chain. -
Polyend Tracker Full Press Note Link
PRESS RELEASE • FOR IMMEDIATE RELEASE • 18/03/20 CONTACTS Reviews: [email protected] General: [email protected] Polyend Tracker reboots retro form factor of software past with forward-looking functionality as world’s first hardware tracker OLSZTYN, POLAND: famed for bringing new technologies to creative musicians by building innovative and unique musical instruments, Polyend is proud to announce availability of Tracker — effectively extracting the best bits of yesteryear’s tricky tracker software classics and rebooting them with forward-looking functionality as the world’s first hardware tracker, deftly designed as an easy-to-use compact standalone workstation with immediacy and simplicity at its creative core, and aiding artists with forging unique avenues of sonic construction to boot — as of March 18… For the benefit of the uninitiated, a music tracker — tracker, for short — is a type of sequencing software. Speaking historically, the tracker term itself is derived from the first tracker software, Ultimate Soundtracker, starting life as a game sound development tool released for the Commodore Amiga personal computer back in 1987. The first trackers supported four pitch and volume modulated channels of 8-bit PCM (Pulse Code Modulation) samples, a limitation imposed by the Amiga’s audio chipset. Classic trackers represented music as discrete notes positioned in individual channels at discrete positions on a vertical timeline with a number-based user interface. Indeed, notes, parameter changes, effects, and other commands were entered via computer keyboard into a grid of fixed time slots as codes comprising letters, numbers, and hexadecimal digits — the latter being a positional system representing numbers using 16 distinct symbols.