chiptune music made with fl studio isn't chiptune in the same way that chamber music written for a 100-piece orchestra isn't chamber music. fight me nerds

You, Steve Lakawicz, Joe Kelleher, Trevin Hughes and 7 others like this.

Trevin Hughes You are not wrong Eli, they are indeed different things. They have the potential to both be awesome in the right hands but the fact remains that they are different. I just want people to be honest about what they use smile emoticon. I'll respect both as long as people don't try to lie.
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Trevin Hughes Yes, I know this is somewhat of a joke post but my viewpoint still stands. tongue emoticon
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Tom Coleman Confession: I like making 8-bit-like sounds with square wave synths MORE than actual 8 bit chipsounds GASP
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Jesse Martin kay, how do you mean btw
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Jesse Martin explain urself
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Trevin Hughes Speaking of which, I'm going to go eat now. Bye tongue emoticon.
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Steve Lakawicz I'd agree, Eli. Adaptation of music from orchestra to brass quintet would be similar... and also atrocious in most cases
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Sean Baker Eli.. true. but you can LOOSELY label it as "classical." much like chiptune is no more descriptive than, say, "guitar music."

let's debate if guitar music is really guitar music if we use pedals or amplifiers.
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Neal Colvin Limiting the methods of creation for defining chiptunes is like going to a buffet and eating only one thing. Also, 1-2-3-4, I declare a thumb war. <--gamers feel me
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Sean Baker Spanish guitar or GTFO
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Neal Colvin To be fair, I write a lot of parts for Famitracker, especially melodies, using my acoustic guitar. I then input them and tweak them. Without that tool and ability, I'd probably write on electric keyboard and then program.
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Devin Hart Alright let's fight.
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Neal Colvin But the original premise is that a chamber is of a definite size and cannot fit a 100-piece orchestra. Chambers are limited in space solely by the decision of the designer.
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Eli Zabeth Gayassa Jesse Martin: the "fakebit/realbit" distinction in these arguments is a battlefield based on two different & seemingly opposed ways of classifying music. here's my example

an important dimension in the appreciation of solo or chamber classical music is an intense familiarity with the instruments and their ranges, tonal qualities, sound world, "personality" etc. this is a system of expectations much like the awareness of melody, harmony, structure etc. and constitutes (in a large part) a special enjoyment of it that can't be found elsewhere

i find that this distinction is shared by (and demarcated by specific chip) console-playable chiptunes of particularly distinctive qualities. cultivating a boundary of what you can consider a "2A03 soundworld" for example provides boundless possibility for sensation of what can occur within it, in the same manner as a "string quartet soundworld", or a "solo piano soundworld", often placing importance on exploring these possibilities

this places chiptunes (again, demarcated by distinctive chips) firmly as a "medium", and not the infinitely flimsier and weak to social whimsy/base exploitation of timbral values that comes with the term "genre". as a genre has no secure boundaries it cannot be properly explored, whereas a medium can and i think this is infinitely more important as a term for artistic development and exploration, as opposed to petty interpersonal politics
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Steve Lakawicz ^ this is probably the most eloquent argument FOR this distinction I've heard
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Jesse Martin
Jesse Martin's photo.
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Eli Zabeth Gayassa (and yes the same follows for "guitar band soundworld"/"guitar band with pedals soundworld"/"ableton live soundworld" etc etc. at that point its up to you to decide if the boundaries you've set are simply far too wide/meaningless to make any sense out of it, signal-to-noise ratio withstanding)
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Steve Lakawicz I haven't spoke much on the topic but I'd say I agree with the idea that the two should be separate.

As a former NYC freelance musician, I've had many of my gigs replaced with electronic equivalents IE check Broadway to see how many performances are using recordings or ::gasp:: some kind of dressed up VST midi. While the audience, for whatever reason, has no real problems with this, I do. It's NOT the same. It cannot capture the original timbres, sonorities, or experience of a live groups. For example, imagine showing up for a "tuba recital - all the greatest tuba works ever" and I just go and play a keyboard, with one finger, playing all the notes. It's quite simply not the same, and lacks the transmission of virtuosity that is necessary for a performance.

When it comes to chiptune, we have the ability to maintain some kind of... tradition and/or limitation that provides, for me, most (if not all) the enjoyment in the process. I also am deeply familiar with the particular trackers and hardware limitations, so I have some kind of expectation when I hear chiptune on different mediums.

Sum total: I will say, for the record, I am absolutely less likely to be blown away by fakebit tracks as the limitations are endless, typical, and banal; I will always been impressed with virtuosity on any given chip.
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