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��ߣ�� Dr.Quest
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�����ڣ�2022-07-28 23:36:46
�޸��ڣ�2022-08-28 00:36:06
--------------------

��Һã������ǡ���ʾ�������ۡ�ϵ�пγ̵ĵھſΣ�Ҳ�ǡ�оƬ��֡���һ���
�����һ�ڿΡ��ڡ�оƬ��֡���ǰ���ڿ����ǻع��оƬ���8-bit��Ϸ
��ֵ���Դ��Demoscene����ķ�չ����������ڿΣ����۽���оƬ�������Ϸ
����ʾ����֮��IJ��֡����ر��Ǵ�90���к�������LSDJ��NanoloopΪ����ģ�
����Demoscene֮���оƬ���������ߴ����ļȷ���Ϸ��֡�Ҳ�����Demosce
ne֮���оƬ�����Ⱥ��

оƬ��ֲ���������ѭ��ʾ�����еĿ�ִ��ԭ��

�������Demosceneʵ���У�����ʾ�����ڷ���֮����ǵ����Ч�����Ѿ���
ȷ���ģ���ʾ����ͨ����������ǵļ���ƽ̨�����ȷ��Ҫ�󣬳����������
Ҫ��֤��ʾ�����֯���ܹ����ֳ������������ij��򣬲���Ԥ�ڵ�Ч�����ֳ�
�Ĺ�����չʾ�����κ�����ͱ�������ܵ��±���е�ʧ������������޷��ڱ�
��ֳ�������У����޷��ﵽ��ѵ�����Ҫ��

������оƬ�������˵����Ȼ���Ҳ�������ִ�е���ֳ���Executable M
usic������������ѭ���������ʾ��������Ĺ�ͬ���򣬱��������ƽ̨����
��ʱ�䡢��������������ơ�����ǵ��Ʒ�������һ��������ڵij��ϣ�����
�����ݡ���оƬ��ֳ����У�һЩ����˵Ŀڱ���ȫ�������ֳ�����֮�϶�û��
�����ִ����ֳ���ľ��顣

����2013������ļ����������Ϸ����Music and Game: Perspectives on a Po
pular Alliance����¼�˰�������ѧMatthias Pasdzierny�����ġ���̨�ϵ�
���ͣ����ֳ����ݣ�оƬ������ĵ��顷��Geeks on Stage? Investigations
in the World of (Live) Chipmusic�� (Link: https://link.springer.com/c
hapter/10.1007/978-3-531-18913-0_10) �н�Ϊ��ϸ�ؽ�����Ϊ�ֳ����ݵ�
оƬ��ֵIJ���ͷ�չ��

����ƪ�������ָ�����조оƬ��֡��Ķ�����ںܴ�ģ���Ŀռ䣬�ر����
��оƬ��Ӧ����򲢲������ڼ��õ��Ժ���Ϸ������������ߡ��绰������ȵ�
��

But, as Carlsson himself mentions, such a classification harbours new
problems, especially in further dissociation, e.g. because of soundchi
ps having been assembled not just in game consoles and home computers,
but also in toys, telephones, musical instruments (such as different
kinds of electronic keyboards) and various other devices (ibid.).����
�����Carlsson�Լ��ᵽ�ģ�����ķ��������µ����⣬�ر����ڽ�һ���ķ�
�룬���磬��Ϊ���оƬ�Ѿ�����װ�ڲ�������Ϸ���ͼ��õ��ԣ����һ������
���绰��������粻ͬ���ĵ��Ӽ��̣�����������豸��ͬ�ϣ���Ҳ������
���۾۽��ڡ����������ǡ�оƬ������ָ��Demoscene����TrackerΪ����ġ���Դ����
������ͽ�����оƬ��ֳ����γɵĹؼ���MOD�ļ���������������ʹ�õ�
��в������֯��������ǵĽṹ��������������޸ĺ�������ǡ�

What made the trackers so attractive for the demoscene was the possibi
lity to share the music in an open-source form. At the end of the comp
osition or arranging process there was no need to export the music to
a - in a certain way, closed - soundfile (often including a loss of so
und quality), but the music existed (and was spread) as a module file
(the so-called MOD), which contained all the used samples and pattern
information and remained, in every way, editable for everyone.�����֮
��Զ�Demoscene����˴������������Ϊ������Կ���Դ�����ʽ�������
�������������̽��ʱ��û�б�Ҫ����ֵ���Ϊ������ij�̶ֳ����Ƿ�յġ���
����ļ���ͨ����������������ʧ�����������ģ���ļ����ν��MOD������
ʽ���ڣ����������������а������ʹ�õ������ģʽ��Ϣ�����ڸ������汣��
������˵Ŀɱ༭�ԡ�����Դ�Ӳ���ĵ�һ��оƬ�����

������о����ǻ���������оƬ��ֵġ��������γ���Demoscene������ΪоƬ��
�ֳ����ġ���һ������Ա��ͬʱ���Ҳָ������90���к��ڿ�ʼ���¼����оƬ
����������������Demoscene��ϵ���У�����ʱ��оƬ��ֳ����𽥴���ʾ
�����з��������Ϊ���Լ��Ļ�������Ļ����ŵ��³�����

��Щ�¼������ʾ������Ա��������ڶ������͡��������оƬ�������ߡ��ڡ���
̨�ϵļ��ͣ����ֳ����ݣ�оƬ������ĵ��顷�У��á��ڶ����������ɡ�����
��2000��ǰ��оƬ��ֳ����³��ֵģ������ӱ��ݡ����Ӽ�����ɱ𣻶���оƬ
��֡�Fakebit��оƬ�����е���ʵ�Ի����Chipmusic, Fakebit and the Di
scourse of Authenticity in the Chipscene�� (Link: http://widerscreen.f
i/numerot/2014-1-2/chipmusic-fakebit-discourse-authenticity-chipscene/
) �����˶��Ļ��ϸ��ӷ��ѣ�������Ӳ�����Եġ��������оƬ����˵������


����̨�ϵļ��ͣ����ֳ����ݣ�оƬ������ĵ��顷ȷ�����������ڿο�ʼ
ʱ�ᵽ��һ���۵㣬����оƬ��ֵ����ʱ�ڣ���˵������ʾ������оƬ���
������ѭ��ʾ�����̡�ִ�е�չʾ���̣���û���ֳ����ݵġ�

First one has to note that, in the beginning of the chipmusic scene, t
raditional live performances were immaterial or, in fact, did not exis
t. It was rather the programming itself that was considered as a perfo
rmance, especially if, as usual in the demoscene, everybody brought th
eir own computer system to the demoparty and publicly polished his or
her demo to the last second.���ȣ����DZ���ע�⵽����оƬ��ֳ����ij���
����ͳ���ֳ����ݲ�����Ҫ������˵�� ��ʵ�ϲ������ڡ��෴����̱�����
Ϊ��һ�ֱ��ݣ��ر�����������ʾ�ֳ�һ��� ÿ���˶������Լ��ļ���ϵ
ͳ�μ���ʾ�ᣬ��������ĥ��������ʾ�����һ�롣 ����In this respect, ch
iptuners take the independent life of computers seriously, or, as Dani
el Botz writes, following the theories of Friedrich Kittler: ��[Demos]
are not based on purposes of shaping following an ideal form and reali
zed with adequate computer technique. They are in terms of production
and reproduction very closely connected to the possibilities and limit
ations of a particular piece of hardware. [...] The idea doesn��t come
first, but the machine.�� ���ⷽ�棬chiptuners����Դ������Ķ������
������˵�����Daniel Botz�д�ģ� ��ѭFriedrich Kittler����ۣ�"[��ʾ]
���ǻ�����ѭ������ʽ��ͨ���ʵ��ļ������ʵ �ֵ�����Ŀ�ġ���������
�͸��Ʒ������ض�Ӳ���Ŀ����Ժ;����Խ�������[......]�� �����ǵ�һλ
�ģ����ǻ��"��(ͬ��: 29)����оƬ����˶Դ�Ӳ��������̳���Demoscene��
�����Խ������оƬ����˶��ض�Ӳ���ġ��ҳϡ������Ը�⻨�����ʱ��ͽ�Ǯ
ȥ�ռ����޸�����Ӳ�������оƬ�������൱�̶��Ͼܾ�ģ�����ͬ������Ҳ
֧����ʽ������ʾ��oldskool demo���͸��ż�����Ⱥ�ľ��ò�˥��

�ڶ���оƬ����ˣ����������ֵĹ��

����̨�ϵļ��͡����ᵽ�ġ��ڶ����������ɡ���new school��оƬ����˿��ܸ�
�ӽ����ǽ����оƬ��ֵ�ӡ��������ʹ�õ�������������ǽ������ἰ
оƬ���ʱ����Ƶ����ߵģ�����LSDJ��FamiTracker�ȵȡ����������ʾ����
֮����������Ⱥ�Ļ�����ʵ���ص�֮�䶼�������಻ͬ��

Unlike the demoscene, the so-called ��second generation�� or ��new school
�� of chipmusicians (Dittbrenner 2007: 116, Yabsley 2007: 15), from its
beginning around the year 2000, has been much more open to convention
s and communities of popular music. New tracker programs, first of all
LSDj for Game Boy as well as NES/Famicom-trackers like MCK/MCKC and F
amiTracker, have made it possible to focus on just playing with the so
unds and the possible application of the systems as instruments for li
ve music performances rather than only on technical backgrounds �C the
reason why some parts of the demoscene coined the snide term ��cubase-c
hipmusicians�� (Carlsson 2007: 156). Since this performance-oriented sc
ene emerged, the terminology has also changed. For example, the defini
tion of the term chipmusic has been widened: ��Ideally, it should be da
nceable music with square waves. I would say that��s the new millennium
(stereo) type of chipmusic. And the purists grunt...�� (Carlsson 2010:
5) Sometimes the term fakebit (instead of 8-bit) occurs in this conte
xt, defining music which uses the sound of 1980s chipmusic but is comp
letely produced with regular modern samplers, synthesizers and sequenc
er programs.��Demoscene��ͬ���ν�ġ��ڶ����������ɡ���оƬ��ּң�Dittb
renner 2007: 116, Yabsley 2007: 15�����Ǵ�2000�����ҿ�ʼ�ģ���Ƕ����
��ֵĹ����������ӿ��š��µ�Tracker��������������Game Boy��LSDj��
�Լ�NES/Famicom׷�������MCK/MCKC�� FamiTracker��̳��֣�ʹ�����п���
רע�ڰ�Ū���ͽ�����ϵͳ����ֳ��������Ŀ����ԣ����������似���
�����������ΪʲôDemoscene�IJ��ֲ����ߴ���� ��CubaseоƬ��� �ҡ����Ц
����ԭ��Carlsson 2007: 156�����Դ����Ա���Ϊ����ij������֣����Ҳ
����˱仯�����硰оƬ��֡�������Ķ����Ѿ�����ˡ����������£��Ӧ
���Ǵ��з����������֡�����˵������ǧ�꣨����������͵�оƬ��֡�����
����������������ֹ���������Carlsson 2010: 5����ʱ��fakebit����������8-
bit���������������£�����Ϊʹ�� 1980��оƬ��ֵ�������ȫ����
ͨ�ִ��������ϳ��������������������֡���80����90����оƬ���
��Demoscene�з�չ��һϵ���������ߺͷ�������90��ĩ��2000��ǰ���о
Ƭ�������Ҫ�ı�־�Ǵ�Demoscene�С����ߡ��������������ֵ��ص㣬��һ
ʱ��оƬ��ֳ��������Ĺ�ע��Խ��Ӳ���������ֳ��Ե�һ�����˾��ǡ�ֻҪ
����ҪӲ��������硰CubaseоƬ��ּҡ���������������������оƬ����
���˴�ʹ�������Ƶ���վ��DAW�����������������һ��ʹ����������
оƬ��Ҳͨ������˽����оƬ�Ŀɱ�����ԡ�

�ڵڶ���оƬ�����֮�г��ֵġ���оƬ��������ĿǰоƬ���������������
�Ļ��⣬�������һֱ�����񣬵����Ժ�Ҫ���ܵġ��������оƬ������У���
��оƬ��Ҫ��������ʵIJ����߶����Ÿ��ߵĽ��ܶȡ�

��CubaseоƬ��ּҡ���Demoscene��Ա����ĺ���ԭ�򲢷ǽ����Ƕ�Ӳ������
�������̬�ȵIJ�ͬ�����֮���ì��ʵ������Demoscene������ķ���ҵ���
�������Ƶ�����������ҵ�������֮��ļ�ֵ�۳�ͻ��

�ڡ�����Ϸ��������֣�оƬ������Ļ�����Playing new music with old gam
es: The chiptune subculture���У��ἰ��һ����оƬ�����Ⱥ����Ϊ���е�
�໰��Fuck Pro Tools���������൱һ����оƬ����˶������Ƶ����̬�ȡ�

As we can see in the hacker/punk implications pointed above, chiptune
artists tend to present themselves as inherently subversive. From the
oppositional standpoint they claim, they disregard the latest technolo
gical developments, upgrades, sound and 3D graphic cards. Also, they t
end to oppose the idea of the ��planned obsolescence�� , which has prove
d to be one of the best ways to control and manipulate the masses thro
ugh technology, especially in the digital age. They prefer old compute
rs and gaming devices to the latest digital audio workstations. ��Fuck
Pro Tools��, as the member of the micromusic online community said. �
������������ָ���ĺڿ�/��˵ĺ����п��Կ�����chiptune����������ڽ���
������Ϊ���еĵ߸��ԡ��������Ƶķ����������������������µļ����չ
�����������3Dͼ�ο������⣬��������ڷ��� "�ƻ���̭ "���뷨�����ѱ�
֤���ͨ��������ƺͲ��ݴ��ڵ���ѷ�ʽ֮һ���ر��������ʱ������Ǹ�ϲ
���ɵ��Ժ���Ϸ�豸�����������µ������Ƶ���վ������Fuck Pro Tools����
���micromusic��������ij�Ա�˵�� Nanoloop

�ɡ��ڶ�����оƬ��������չ�������������������Ӱ����Ҫ�Nanoloop��LS
DJ�ˡ���ǰ���ڿζ���ἰ�ģ����첢�����оƬ��ֳ�����Tracker��ͬ��Nan
oloop��LSDJ������Demoscene�еİ��������������DZ���Ϊ����90��ĩΪ��
���һ�ֶ�����оƬ��ֳ������Ʒ������Ƕ�ƽ̨��ѡ��Դ��Game Boy�ڴ���
�г��ϵľ޴�ɹ���

(Image: https://picx.zhimg.com/v2-cfa674668d05605c1d21bade588d3bb5_720
w.jpg?source=d16d100b)
�����е�Nanoloop�ڵ¹������������־��MEMI���IJɷ��� (Link: http://w
ww.memi.com/makers/hwsw/article/nanoloop-iview.html) ��Nanoloop�����O
liver Wittchow���Լ���������������Ͷ�����������Ľ��ͣ�ȷ���Nano
loop���Ϊ���ѧԺѧ���������Ŀ���ֵġ�ͬʱOliver�ڿ�ʼ����Nanoloopʱ
��û�б�̾��飬������רҵ�����ߡ�

��Nanoloop������ƾ�ճ��ֵģ���1998��Nanoloop����֮ǰ��Χ��Game Boy��ҵ
�࿪������Ⱥ�Ѿ��õ����൱�̶ȵķ�չ��Oliver�ڲɷ����ȷ�ᵽ��Game Boy
�ϵ�BASIC�������C�������������1996��ǰ����ǿ��õ�״̬����

Jeff Frohwein��GB BASIC��Jeff Frohwein's GameBoy Technical Page (Link:
http://www.devrs.com/gb/files/docs.html)

����Nanoloop�ʹ�õ�C�����GBDK��GBDK - home (Link: http://gbdk.source
forge.net/)

���ڲɷ���OliverҲ�ᵽһϵ�����ϳ����Nanoloop��������оͰ�����Ja
vOICe��Generator��Reaktor������Super Collider��

JavOICe��https://www.artificialvision.com/javoice.htm (Link: https://w
ww.artificialvision.com/javoice.htm)

Reaktor��Synths : Reaktor 6 (Link: https://www.native-instruments.com/
en/products/komplete/synths/reaktor-6/)

Super Collider��https://github.com/supercollider/supercollider (Link:
https://github.com/supercollider/supercollider)

������������ϸ���˵�ʱ���ϳ�������ĸ���Ⱥ�壺JavOICe�ǵ�ʱ�ڷ�
���ֹ���Ŀ�ѧ��Peter Meijer���о�����Ŀ���俪�����ҪĿ����Ϊ������ʿ
�ṩ�������컯���Ӿ����װ�ã���Generator��������������ִ������
�ϳ��������90��ĩ���÷���Ͷ��ת����ҵ����SuperCollider�����ǵ¿�
�˹�����ѧ��ѧ�����Ŀ��ּ�ڿ���һ�������ֺϳɵı�����ԣ�����Ŀ
��2002�꿪Դ����չ���

(Image: https://pic1.zhimg.com/v2-6d7b4665dc8701559abaf492db38015a_720
w.gif?source=d16d100b)
JavOICe��һ�����������ij�����ȻOliverʹ����Demoscene������������
Fasttracker���������Ϊ�Լ����Ʒ���ڡ���ʾ������񡱣��ʹ��FastTracker
�������ȫ�ǹ����Եģ�

Den Stil knnte man als Minimal House bezeichnen, manchmal auch als Amb
ient oder Trip Hop. Ich mag Minimalismus sehr, aber bin nicht wirklich
ein Lo-Fi Fan. Fasttracker benutze ich, weil an ihn gewhnt bin und f��
r mich immer noch der schnellste Weg ist, Samples zu arrangieren. Es h
at nichts mit einem "Demo Szene" Stil zu tun. Auerdem hat er einige Fe
atures, die andere Programme nicht bieten, vor allem "Sample Offset" u
nd das schnelle "Instrument Remapping".���ַ����Ա���Ϊ������ң�Min
imal House������ʱҲ����Ϊ��Χ��֣�Ambient�������������Trip Hop����
�ҷdz�ϲ��������壬���Ҳ���һ������ĵͱ����˿����ʹ��Fasttracker��
��Ϊ���Ѿ�ϰ�����������˵�����Ȼ����֯������ķ�ʽ������ "��ʾ��
�� "����޹ء��Ҳ��һЩ������򲻾߱��Ĺ��ܣ��ر��� "���ƫ�� "�Ϳ���
�� "�����ӳ��"������Oliver�ڲɷ���Ҳ�ų�����Game Boy�Ŀ����������õ�
��ϵ�������ٷ��Ŀ������߻��ÿ�����Ȩ�Ļ��᣺

Thomas Finegan (TF):Hast Du die Entwicklungstools von Nintendo?������
���õĿ��������� Oliver Wittchow (OW):Nein, der Game Boy C-Compiler
ist ein inoffizielles Produkt, genauso wie der Basic Interpreter. Es g
ibt eine groe Game Boy-Fan-Gemeinde im Internet. Sogar richtige Demos,
wie fr��her auf dem Amiga oder Atari ST. Ich mute mir alle Dokumentati
onen zum Game Boy im Internet zusammensuchen.û�У�Game Boy C�������
һ���ǹٷ��IJ�Ʒ��Basic�����Ҳ����ˡ����������һ���ܴ��Game Boy��
˿����������������ʾ������Amiga��Atari ST�ϵ���ʾһ��������ڻ�
������ҵ���й���Game Boy���ļ��ġ� TF:Was ist mit einer Nintendo-Liz
enz f��r den Nanoloop?�㿼�ǹ�ΪNanoloop��������õ������ OW:Ich den
ke es ist einfach zu klein und zu speziell, als da sich Nintendo ��berh
aupt damit befassen w��rde - d.h. man ist weder an Lizenzvergabe intere
ssiert, noch werden gleich die Anwlte losgeschickt.Nintendo macht mit
dem Game Boy selbst kaum Gewinn, Konsolen werden oft sogar subventioni
ert [Anm.: K��rzlich wurde ��brigens der 100.000.000ste Game Boy verkauf
t.], von daher verstehe ich das schon mit den Lizenzen. Das ist halt d
as System in diesem Bereich. Ich wre auch gerne bereit, Nanoloop zu li
zenzieren oder auch komplett zu verkaufen. Aber die Bedingungen, um of
fizieller Game Boy Entwickler zu werden, sind f��r mich unerf��llbar und
es ist praktisch unmglich mit Nintendo direkt Kontakt aufzunehmen, da
s luft alles ��ber Dritthersteller.����Ϊ�̫С��̫�ر�ˣ�����������
м�������������Ƕ���Ȩ������Ȥ��Ҳ�����������ɳ���ʦ�������ü���û��
ͨ��Game Boy����׬ȡ������Ϸ�������������[ע�����۳��˵�һ��̨G
ame Boy]�����������Ȩ�����顣��ֻ������ҵ���ƶȡ���Ҳ�����ΪNano
loop�����Ȩ������ȫ����������Ҳ���������Ϊ�ٷ�Game Boy�����ߵ��
�������Ҽ���������ֱ�����������ϵ��ֻ�п���ͨ������������̽��С�LSDJ


���Nanoloop��LSDJ�ij�������ʾ�������Ÿ������е��ϵ����2012��IJɷ���
(Link: https://chipmusic.org/forums/topic/6612/interview-with-johan-k
otlinski/) ��LSDJ�����Johan Kotlinski�ᵽ���һЩ���������Hack n' Tr
ade��ʾС��ij�Ա����Ƕ�ͬ����Ŷ�Commodore 64��Amiga��ֵ���Ȥ��ͬʱ
�Ҳ�ᵽ���ʹ�ù�Amiga�����ϵ�����������Musicline Editor���������
��Amiga�����ϵ���������ͬ�Ҳ����Demoscene��չ�����ġ�

(Image: https://pic1.zhimg.com/v2-3d7f54634157b095bdf45816c3c9c6f2_720
w.jpg?source=d16d100b)
��2020����һƪ�ɷ��� (Link: https://defensemech.com/intense-tech/en/
13-interview-with-lsdj-developer-johan-kotlinski.md.html) ��Johan��
���������˵�ʱ���Σ������ᵽ���һλ�����Goto80�����Hack n' Trade
�ij�ԱAnders Carlsson��

Like many others in Sweden, I grew up with Commodore 64 and Amiga and
so got accustomed to these sounds early on. Early 90s, I learned Protr
acker and shared .mod files on bulletin board systems, and made friend
s over FidoNet who shared my taste in music; mostly the techno/house/I
DM stuff that were popular back then.�����������һ�������Commodore
64��Amiga�г�����Ժ����ϰ�����Щ���90��������ѧ���Protrack
er�����ڹ����ϵͳ�Ϸ����.mod�ļ�������FidoNet�Ͻ�ʶ����������ͬ���
Ʒζ�����ѣ��Ҫ�ǵ�ʱ���е�techno/house/IDM���������In mid 90s, I star
ted to use a new synthetic music program for Amiga named Musicline Edi
tor. I don't think it ever got popular, since at this time people were
switching to PC and Playstation. I liked it a lot though. Compared to
Protracker, it was possible to create new sounds rather than just usi
ng samples. Also, the vertical workflow made it easier for me to actua
lly finish songs. I made a lot of music, had fun and mail-swapped tape
s with the few people I found who were at all interested in listening.
��90�����ڣ��ҿ�ʼʹ��һ���µ�Amiga�ϳ���ֳ����ΪMusicline Edito
r������Ϊ�û�еõ��ռ�����Ϊ����ʱ�����Ƕ�ת���PC��Playstation����
���Һ�ϲ�������Protracker��ȣ���п��ܴ����µ�������������ʹ���
�������⣬��ֱ�������ʹ�Ҹ�������ɸ��������˺ܶ���֣���úܿ��ģ�
�����ҷ��ֵļ�������Ȥ����˽����˴Ŵ���(Image: https://picx.zhimg.com
/v2-d123529aa4af384895589590e3629c40_720w.jpg?source=d16d100b)
Musicline EditorIn 2000, I printed the 7�� vinyl "Papaya EP" with Commo
dore 64 music made by my friend Goto80. Surprisingly enough, people li
ked it enough to sell a thousand copies. I think it inspired us both t
o put more effort into what we were doing.2000�꣬�����ҵ�����Goto80��
���Commodore 64���ӡ���7��ڽ� "ľ��EP"�����˾��ȵ��ǣ�����ϲ�����
������һǧ�š�����������������ʹ���������������Ͷ����ľ�����
It was around this time I started to make some kind of music program f
or the Game Boy Color, which turned out to be surprisingly fun. I name
d it Little Sound Dj, sold cartridges over the internet and to a local
record store. I found more like-minded people in Stockholm and on the
Internet. From there on, thanks to http://micromusic.net (Link: http:
//micromusic.net)  and other early Internet communities, things kind o
f exploded. Suddenly, lots of people who were thinking that this music
deserved to be treated as ��real music�� realized they were not alone,
learned how to network and organize shows. It got recognized as a move
ment of sorts. And from there, it just continued.������ʱ���ҿ�ʼ
ΪGame Boy Color���ij����ֳ��򣬽�������������Ȥ���Ұ����ΪLi
ttle Sound Dj���ڻ�����Ϻ͵��ص�һ�ҳ�Ƭ�����ī�С�����˹�¸�Ħ��
��������ҵ��˸���־ͬ���ϵ��ˡ������Ժ�����http://micromusic.net (L
ink: http://micromusic.net) ��������ڵĻ��������������е㱬ը�ˡ�ͻ
Ȼ�䣬�ܶ���Ϊ�������Ӧ�ñ���� "�������� "������ʶ����Dz����µ���
ѧ�����ν���������֯�ݳ����������Ϊ��һ���˶��������Ժ���ͼ��
��ȥ�ˡ���2009�꣬Johan Kotlinskiд��һƪ��Amiga��ֳ���1986-1995����A
miga Music Programs 1986- 1995�� (Link: http://goto80.com/chipflip/dox
/kotlinski_(2009)_amiga_music_programs_89-95.pdf) Ҳ��ӳ����߶�Demosc
ene�ʹ�õ�Commodore 64��Amiga��ֳ����˽⡣

����Nanoloop���ƣ�LSDJ����Demoscene��һЩ����ͼ���������俪���߱�
��ȴ����������ʾ���С��ij�Ա����ɹ���Ҳδ�ط��������ʾ�������Ҫ��
���Goto80�ᵽ����ʾ�����еĿ�����ͨ����������ֳ���ʹ��ȫ����CPU��Դ
����Ϊ��ʾ������Ҫ�������Դ����ͼ�Σ�������оƬ��ֿ������˵����ǵ�
���Ὣ��е�CPU��Դ�����������֡�

@viznut: you are right in many ways. there is a difference in embracin
g the defaults and trying to transgress them, but chipmusic is usually
about both. it's hard to say what's what, when talking intentions. bu
t anyway, i don't think there is a strict general difference between d
emosceners and 'the others' in that sense. there are plenty of 'naive'
chip-uses both by chip- & demosceners. for me, most good chipmusic i
find these days are not produced for the demoscene. and to be honest,
it's not that often that demoscene chipstuff is technically impressive
either. also, the chipsceners have a head start by using CPU-maximizi
ng software when demosceners don't (i mean, LSDj vs Carillon) aswell.@
viznut�����ںܶ෽�涼�ǶԵġ�����Ĭ��ֵ����ͼ��Խ����������ģ���о
Ƭ���ͨ���ǹ������ߵġ������˵�����ҷ��ֵĴ����õ�оƬ��ֶ���
��ΪDemoscene����ģ�����˵ʵ����Demoscene��оƬ��Ʒ�ڼ����Ҳ��������
����ӡ����̡����⣬оƬ����߻�ʹ����Щ������CPU��Դ��������Dem
oscenersͨ����������������˵����LSDj�Ա�Carillon�����������ȡ���
���ơ�(goto80)https://www.pouet.net/topic.php?which=7206&page=5 (Link:
https://www.pouet.net/topic.php?which=7206&page=5) Nanoloop��LSDJ����
����е�оƬ������������ϵ���Ƶ�̳�Ҳ�ܶ࣬��Ա��ľͲ���׸�����
�IJ�������ˡ�

ΪʲôоƬ��ֳ���ѡ���Game Boy��

���Amiga����Commodore 64����ĵ���ƽ̨��Game Boy�����������ȱ�ģ���
��ϵͳ���и�������ԣ���������д������Զ�ȿ���ʹ��������ұ���
�����Ը�����Ļ�ͼ���Ҳ�ṩ���õIJ��Ч�ʣ���ꡢ��Ϸң�е����軹����
�ṩ����Ŀ��Ʒ�ʽ��

��Ϊʲô��1990��ĩ����ʾ����֮���оƬ��ֿ�����ѡ���Game Boy�Ϊ�
���Ҫƽ̨�أ��ڡ���̨�ϵļ��ͣ����ֳ����ݣ�оƬ������ĵ��顷Ҳ���
�����⣺

But what are the reasons for the enormous popularity the Game Boy has
reached as a musical instrument in a very short time? Presumably it is
not just the sound. In this respect, other devices, above all, the C6
4, offer a lot more possibil ities. Also emerging tracker software suc
h as LSDj and Nanoloop are probably rather the trigger and not the cau
se of this development, even though, in this respect, the LSDj especia
lly, with its special live features, opens completely new opportunitie
s. ���ǣ��ں̵ܶ�ʱ���ڣ�Game Boy�Ϊһ��������Ϊ���е�ԭ����ڣ���
�벻�������������⡣���ⷽ�棬����豸��������C64���ṩ�˸���Ŀ���
�ԡ����⣬���˵�Tracker������LSDj��Nanoloop�����������ַ�չ����Ӷ�
��ԭ�򣬾������ⷽ�棬�ر���LSDj������ֳ����ݹ��ܴ��ȫ�µĻ��ᡣ��
�н�Game Boy�Ϊ������е�ԭ���Ϊ�ĵ㣬���ɻ���ԡ���Я�Ժ�ֱ�۵Ŀ���
�ԡ������Ļ����ź������ߵ������ǰ����������ԣ��Ϊһ��������ڵ�
������Ϸ����Game Boy�۸��������ڻ�ã����Ҳ�dz����ס����������
���˽�Ϊ��ϸ�Ľ��ͣ�

Over and above that, however, it seems to be the status of the Game Bo
y as a popcultural symbol known by everyone in the western world and,
for some generations, a part of multi-sensual collective memory, which
makes it so attractive. In this connection, Alex Yabsley rightly spea
ks of the Game Boy as a ��symbol with a lot of semiotic meaning already
attached to it��, which, for this reason, could develop into a tradema
rk for the whole chipmusic scene (Yabsley 2007: 23). A current example
is the merchandising package of the RTP DVD, coming with a personaliz
ed papercraft Game Boy. Ȼ��������֮�⣬�ƺ���Game Boy�Ϊ����������
��֪������Ļ����ŵĵ�λ���Լ���ijЩ�����˵����Ѿ���Ϊ���ָйٵļ���
�����һ���֣���ʹ�������˴�����������ⷽ�棬Alex Yabsley��Game B
oy�����һ�֡��Ѿ�����˺ܶ���ѧ����ķ��š���������ԭ������Է�չ
��Ϊ���оƬ��������̱꣨Yabsley 2007: 23����Ŀǰ��һ��������RTP��R
eformat the Planet��DVD����Ʒ��װ������һ�����Ի���ֽ��Game Boy�� (Ima
ge: https://picx.zhimg.com/v2-76ff643c2721434434828fa5d4b208a7_720w.jp
g?source=d16d100b)
Reformat the PlanetBut not just the look, feel, sound and graphics of
the Game Boy can evoke and transport such meanings and memories, but a
lso the physical expression of the player, or to quote the media philo
sopher Vil��m Flusser, the gesture of playing the Game Boy can be read
(and staged) in different or even contradictory ways. Referring to Umb
erto Eco, Yabsley coins the term ��semiotic guerilla warfare�� for the e
xperience someone has visiting a Game Boy concert (Yabsley 2007: 23).
On the one hand, you see, with the majority, the stereotyped, rather p
ity-stirring silhouette of the gamer huddled over a console and immers
ed in his or her ��artificial world��. On the other hand, there is the h
ighly-appreciated figure of the artist, the (rock) musician, who, with
the exalted movements of his (at best, sweat-covered) body, stands fo
r the authenticity and expressivity of his artistic creativity (Frith
1998: 210-211). ����������Game Boy����ۡ��о�������ͼ�ο��Ի���ʹ�
�����������ͼ��䣬������ҵ�������������ý����ѧ��Vil��m Flusse
r�Ļ�����Game Boy����̬�����Բ�ͬ��ì�ܵķ�ʽ�����������ݣ�������
��Umberto Ecoʱ��YabsleyΪij�˲ι�Game Boy��ֻ�ľ�������ˡ�����ѧ��
��ս��һ�ʣ�Yabsley 2007: 23����һ���棬�㿴�����Ǵ����˵Ŀ̰�ӡ��
���ݿ��µ���Ϸ���������Ϸ���ϣ������������ġ�������硱�е��������һ
�������Ҳ�ῴ��һ���������͵����������һλ��ҡ������ּң��ԣ����
���ͷ�󺹵ģ����е����嶯���������������������ʵ�Ժͱ������Frit
h 1998: 210-211����(Image: https://picx.zhimg.com/v2-8fec252cbc853f9d4
4f1436ae82e6757_720w.jpg?source=d16d100b)
Hell Yes EP�ķ���չʾ�˾��д����Ե�Chiptune������������񷢵�վ�ֶӣ�K
raftwerk�����װ���ĵĹ���ʦ����⹹�����Ƕ�ҡ����ǵĿ̰�ӡ��һ�����
оƬ��ֵ��������DZ���Game Boy����̨��Ť����ǵ�����ʱҲչʾ��һ�ֲ�ͬ
�����������������

��ѧ��ģ�£����㷺�Ĵ���

�ڡ�оƬ��֡�Fakebit��оƬ�����е���ʵ�Ի��һ���У��ᵽ�ڶ���оƬ
�˽��Լ���Ϊ����Ҷ��dz���Ա����Ϸ��ң�ͬʱΪоƬ���������ֿ��ٴ�
�������أ������ڻ�����Ĵ������ݳ�������ԡ����������ֽ̳̻�����Ƶ�̲�
��2000������ʼ�����ڻ�����ϣ���Game Boy��Ϸ�����ռ�������Я����оƬ
�����ŷ�޹���֮��ͽ�ͷ�����г��֡�

�����Ļ��ᵽ���ڵڶ���������˵��ģ����ѧϰ���оƬ�����Ҫ����The le
arning process follows a specific pattern: one needs to copy[14] the t
utor��s steps in order to learn how to manipulate software and then use
their own musical ideas.ѧϰ������ѭһ���ض���ģʽ��������Ҫ����[14]
��ʦ�IJ��裬��ѧϰ��β������Ȼ��ʹ���Լ��������Copying �C or r
ather, imitating �C became an intrinsic characteristic of second genera
tion chipmusicians. Chipsceners who were initially interested in compo
sing chipmusic rather than programming and experimenting on software a
re found in this generation. Seeing creation as a process of imitation
produces an interesting paradox. As Hallam and Ingold (2007, 5) obser
ve, to create a cultural artefact means to produce something new, whic
h did not previously exist. Every creation is bound to a previously ex
isted ideology. If the outcome is new then it is creative according to
the initial argument. The logical paradox would suggest that whatever
is a copy, or an imitation, cannot be new, and as a result it is not
creative. A possible interpretation of this paradox in chipmusic could
be seen as follows: To a certain extent, the first chipscene generati
on instinctively attempt to avoid this paradox from happening by using
original platforms and composing chipmusic from scratch. However, it
seems that the second generation accepts this paradox (again, instinct
ively), embracing the concept of imitation as part of the creative pro
cess[15].���ơ�������˵��ģ�¡�����Ϊ�ڶ���оƬ����˵��������������һ��
���У���һЩ�����Դ��оƬ��ֶ�������̺�ʵ�����Ȥ�IJ����ߡ��Ѵ�
������һ��ģ�µĹ��̲����һ����Ȥ����ۡ����Hallam��Ingold(2007, 5
)��۲쵽�ģ�����һ���Ļ����Ʒ��ζ�Ų���µĶ�������������ǰ����
���ڡ�ÿһ�����춼����ǰ���ڵ���ʶ��̬��ϵ���������µģ���ô����
�����۵㣬����Ǵ����Եġ����߼���۱�������Ǹ��ƻ�ģ�µĶ������
���������µģ��������Ǵ����Եġ����������оƬ����еĿ��ܽ������¡�
��ij�̶ֳ��ϣ���һ��оƬ��ֳ������ܵ���ͼͨ��ʹ��ԭ��ƽ̨�ʹ�ͷ��ʼ��
�оƬ��������������۵ķ����Ȼ�����ƺ��ڶ����˽��������ۣ�ͬ�
�DZ��ܵأ��������ģ�µĸ����Ϊ������̵�һ����[15]�������ұ����˵��
Ҳ�������������һ��ģ���ٱ�ģ�µĹ��̣���2019���������ڱ��������fu
tureSound vol2����һ��оƬ�������Ĺ������������Ҫ���ݣ�ģ�����¸�
��оƬ���Э���ChipLabs�������

ȫ���Ե���ֽ�

��оƬ��֡�Fakebit��оƬ�����е���ʵ�Ի���ἰ�ĵڶ���оƬ�����Ҳ
��ȫ���Ե�оƬ��ֽڵ��Ҫ���֣�ͬʱҲ��оƬ���������ռ��Ĺ�������
���Ҫ����ã�

Second generation of chipmusicians are most known for establishing glo
bal festivals (for example, Blip Festival, Eindbaas, Micromusic partie
s) and also popularising chipmusic by sampling its aesthetic character
istics in popular culture (using audio samples in popular music, pixel
ating pictures and so forth). In this chipscene generation, informatio
n and communication technologies are adopted as methods of production
and promotion. For example, crowdsourcing is a relatively new way of r
aising funds to support the organisation of events as well as music an
d video releases in the chipscene, by means of asking for financial su
pport online addressed to Internet users. One such example is the docu
mentary that overviewed the chipscene in Europe entitled Europe in 8 b
its, whose director, Javier Polo, begun a crowdsourcing campaign on Ve
rkami[16] raising more than 5,000.�ڶ���оƬ�����������ǽ���ȫ����
�ֽڣ�����Blip Festival (Link: http://blipfestival.org/) ��Eindbaas (L
ink: https://eindbaas.org/) ��Micromusic parties������ͨ��������Ļ���
������ѧ������ռ�оƬ��֣�����������ʹ����Ƶ��������ػ�ͼƬ�ȵ�
��������һ��оƬ�����У���Ϣ��ͨ�ż��������Ϊ������ƹ�ķ��������磬
�ڰ���һ����Խ��µij��ʷ�ʽ��ͨ����������������ʽ�֧�֣���֧�ֳ���
�����еĻ��֯�Լ���ֺ���Ƶ����������һ�������Ǹ��ŷ��оƬ��ļ�¼
Ƭ��ŷ��8���ء����䵼�ݹ�ά��-������Verkami[16]�Ͽ�ʼ���ڰ�����O
��5000��ŷԪ��8bit��ֶ�����Ƭ-ͯ���ƻ��������[Europe In 8 BitsƬͷ
]��1080P��_������_bilibili (Link: https://www.bilibili.com/video/BV1
Ks411U7rJ?share_source=copy_web) Ӧ��˵�����յ�оƬ��ֳ����ܴ�̶���
�����ɵڶ���оƬ����������ģ�������¶���˵�һ��оƬ��������
�ԵĶ��壬ʹ���Ӽ��ݼ���Ļ�������

(Image: https://picx.zhimg.com/v2-dc73d0c0b516ba8c59c151122b6166a1_720
w.jpg?source=d16d100b)
Eindbaas�Ǻ����оƬ��־ۻᣬ������1989�겢��������ģ����������
��оƬ����ʵ���ӵڶ���оƬ�����֮��Ϳ�ʼ����ʹ�ü�оƬ����Ҫ�����
�ǹ����ʵӲ���ĸ����ԣ���оƬ��֡�Fakebit��оƬ�����е���ʵ�Ի��
Ҳ�ἰ�˼��ô���������PlogueΪ��оƬ�ϳ��ChipSounds��д�Ĺ���� (Li
nk: https://www.plogue.com/products/chipsounds.html) ��

You can actually use a standard MIDI controller to start composing chi
p music. �����ʹ�ñ�׼��MIDI���������ʼ���оƬ��֡�You DON��T need
to deal with a small and hard to read interface. �㲻��Ҫ����һ��С��
�Ѷ��Ľ��档You DON��T need to learn assembly language, or hexadecimal.
�㲻��Ҫѧϰ������ԣ���ʮ�����ơ�You DON��T have to use a tracker, al
though it works fine with them as well. �㲻��Ҫʹ��tracker���������t
rackerһ��ʹ��Ҳ�ܺá�You can CHOOSE to be limited in terms of pitch a
nd polyphony OR NOT. �����ѡ���Ƿ�����ߺ͸������ܵ����ơ�You DON��T
need to spend years hunting garage sales, flea markets or online auct
ions to gather a collection such as this one. We have done it for you
:) �㲻��Ҫ�����ʱ���ڳ�����ۡ�����г�������������ռ���������ղ�
�������Ѿ�������� :)�������˵������оƬ���ij��ִ������оƬ��ִ����
�Ӽ򻯵���ơ�

�����оƬ����ˣ�������ɢ�Ķ���

�ڶ���оƬ�������Ȼ���൱�̶�����ѭ��һ��оƬ����˶�Ӳ���Ĵ�����壬
������Щ����оƬ�����Ŀ����ߣ�Ҳ��ǿ���Լ���Ӳ�����Ե���ʵ��ԭ��ChipSo
unds�Ĺ����ͬ��ᵽ��

We have all those chips and have painstakingly sampled and analyzed th
em ourselves. ����ӵ�������ЩоƬ��������ǽ���˼��IJ���ͷ����We
've revisited all known documentation of each chip and verified any te
chnical allegations using our own custom tests on them. �����Ѿ�������
���ÿ��оƬ�������֪�ĵ�����ʹ�������Լ��Ķ��Ʋ�����֤���κμ��ָ��
�����Ƕ��ڵ����оƬ������˵�������ڶ���оƬ�����֮�����IJ��
����Dz����ļ�����ƺʹ�������׼���������ѧ����Լ�����Ӳ������
�����������ʱ�����Chipsters����chip hipster��оƬ���ࡱ����Ƕ�оƬ
��ֵ���ø����ơ����š��������ڱ���Ļ��Ϸ�����Ĺ����Ǽ��ƫ�û��
����

����оƬ������Ϸ��Ⱥ

��оƬ��֡�Fakebit��оƬ�����е���ʵ�Ի��Ҳ�ᵽ����оƬ������మ��
���������Ϸ��Ⱥ��

During fieldwork, Roger Cruz, who runs Chip-Con International stressed
that most people that become interested in fakebit come from video ga
me communities such as OCRemix (interview, 2013).

��ʵ�ص����У���ӪChip-Con International��Roger Cruzǿ����������fake
bit����Ȥ���˶�����OCRemix����Ƶ��Ϸ������ɷã�2013����

Me: Is OCRemix retro-oriented?�ң�OCRemix�����򸴹���Ⱥ����Roger: Ye
ah, but it��s just old soundtracks made into more modern music. That��s
not what chiptune is about, but we are getting a ton of people from th
at community, thanks to Chiptunes=Win and DJ Cutman, who came from the
re. As long as there��s some chiptune involved, it��s considered chiptun
e �C doesn��t matter if it��s fake or not, the audience doesn��t care eith
er, but there��s a preference for pure chip a lot more than mixed stuff
(E-mail interview, 2013.)Roger���ǵģ����ֻ�ǰѾɵ�ԭ������ɸ���
������֡��ⲻ��chiptune�����ݣ����������кܶ�������Ǹ��������Ҫ��л
Chiptunes=Win��DJ Cutman������Ǵ�����ġ�ֻҪ��һЩchiptune���룬�
�ͱ���Ϊ��chiptune--������Dz��Ǽٵģ�����Ҳ�����ģ��������ϵĶ����
���Ǹ�ϲ������оƬ��(�ʼ��ɷã�2013�꣩������һ���̶���Ҳ����˽���
�ڶ�оƬ�����Ļ��ң���������оƬ��֡���������ʵ�Ǹ�����Ϸ��ְ���
�ߣ���Sulimi�ȹ�������Ӵ�оƬ��ֵ�����˿�ʼ�ڹ��ڴ���оƬ��ֵ�2010
��ǰ���ں����Ѿ��ǵڶ����������оƬ����˵Ĺ���ʱ��ˣ���VVVVVV����
����ŷ�����Ϸ��ʼ���У�ͬʱҲ�Ǵ������Ϸ�������ڻ������ӿ��оƬ
��ֻ����ʱ�ڣ���˹��ڵ�оƬ��ְ����ߴ�һ��ʼ֪����оƬ��֡��ĸ����
����������Ϸ���ܹ���ġ��������ұ���֮�⣬���й�Ҳ��������������˽�о
Ƭ��ֺ���ʾ����֮��Ĺ����

�ձ�оƬ��ֵ�ͣ�ͺ͸���

���й���ŷ����е�ʹ��PSG��8-bit���Լ�����δ���й�����������˽Ӵ�оƬ
��ֶ���ͨ���ձ���Ϸ�����Ҫ�Ǻ�׻����临��Ʒ��������й�����һ��о
Ƭ������ձ��Ļ���һ���ֵ���⡣�������ǰ����ڿε����������ģ�����
Ϸ��ҵ���ʹ��оƬ���֮�������90�����������Χ�����оƬ�Ŀ�����
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�ձ�оƬ����о��ߣ�http://VORC.org (Link: http://VORC.org) վ��������
�ã�hally����2001����ܽ����� (Link: http://www.vorc.org/en/columns/ha
lly/2001best10e.html) ���������������Jake Kaufman��Virt����ר����
�������ӡ��

��"FX EP"��Not only the composition is excellent, but he succeed to im
itate old Konami style completely. Maybe it isn't possible for today's
Japanese musicians, including Konami. Virt can be the only successor
to Konami of those days. This means Japanese chiptune style is dead in
Japan, but appreciated in USA/Europe. So "FX EP" became a turning poi
nt of Japanese chiptune.����FX EP��ר������������ɫ�����ҳɹ�����ȫ
ģ����Konami�ķ��Ҳ�������ձ���ּң�����Konami���������������
һ�㡣Virt����˵�������Konami��Ψһ�̳��ߡ�����ζ���ձ���chiptune���
���ձ��Ѿ������������/ŷ��ȴ���ܻ�ӭ����� "FX EP "��Ϊ�ձ�chiptune
��ת�۵㡣���ձ�����ʾ������оƬ����о��ߣ�SID Media Labվ����Ұ�磨
�� akaobi�����ἰ��90�����ձ�Tracker���������������Ϸ��BMS����
�ļ�������MOD�����������Ϊ�������ļ��Ĵ��ơ��ͬ�Ҳ�ἰVORC�����罫��о
Ƭ��֡���һ�������ձ����վ��

Once, my junior asked me, ��Have you ever heard MOD?�� I had no idea wha
t the term meant, and later knew that it referred to a music file form
at used in Urao Yane��s BM98 released in 1998, which was a freeware ins
pired from beatmania released by Konami in 1997. To be exact, the form
at is a script called BMS (Be-Music Script or Be-Music Source file) in
which assignment of objects made of wav files and bmp files is descri
bed, so it is quite different from MOD as a music file format. In the
BMS scene, the work of making a file has been divided into pictures an
d sounds. This is similar to division of making a product in the demos
cene. In other words, there is a concept of profession there. Moreover
, in Japan in the late 1990s, tools originate from the demoscene such
as Scream Tracker, Impulse Tracker, FastTracker II, MODPlug Tracker, a
nd PlayerPRO were used for making music in the BMS scene, as well as b
y other PC users. The demoscene was located right by me. And then in 2
001, chipmusic site VORC launched, which introduced the term and the c
oncept of chiptune to this country. Ironically, I did not own my PC in
the same year.��һ�Σ��ҵ�ѧ�����ң�"���˵��MOD��" �ҵ�ʱ��֪����
������ʲô��˼����֪���ָ����1998�귢����Urao Yane��BM98��ʹ�õ�һ
������ļ���ʽ������һ����Konami��1997�귢���Ŀ��Ƚ��ģ�beatmania����
�����������ȷ�е�˵�����ָ�ʽ��һ�ֽ��BMS��Be-Music Script��Be-Mus
ic Source file���Ľű��������������wav�ļ���bmp�ļ���ɵĶ���ķ��䣬
�������Ϊ����ļ���ʽ��MOD�кܴ�ͬ����BMS�����У����һ���ļ��Ĺ�
�����ΪͼƬ������������Demoscene�������Ʒ�Ļ��֡����仰˵�����
��һ��רҵ�ĸ�����⣬��90��ĩ���ձ���Դ��Demoscene�Ĺ��ߣ���Screa
m Tracker��Impulse Tracker��FastTracker II��MODPlug Tracker��PlayerPRO
���������BMS�����е���֣�Ҳ�����PC�û�ʹ�á���ʾ������λ������ߡ�
Ȼ����2001�꣬Chipmusic�վVORC�����Chiptune�����͸�����뵽��
�����ҡ����з����ζ���ǣ��ڵ����Ҳ�û��PC��https://akaobi.wordpress.c
om/2015/07/01/anti-memoirs-an-experience-of-chipmusic-in-japan/ (Link:
https://akaobi.wordpress.com/2015/07/01/anti-memoirs-an-experience-of
-chipmusic-in-japan/) (Image: https://picx.zhimg.com/v2-adc12f67c58a94
9f37c6c89432e6b152_720w.jpg?source=d16d100b)
BM98�ǿ������Ƚ��ģ�beatmania�������ģ����2002�걻hally��Ϊ�ǡ��ձ�
оƬ��ֵ������ʼ��������ܴ�̶�����Χ��LSDJչ���ġ�

Till last year, non-commercial chip music in Japan was almost dead. Bu
t since nanoloop started Japanese language support, new chiptune gener
ation finally appeared also from Japan. cow'p (19-t) is one of the mos
t successful Gameboy musician in Japan. His debut album "Africa" burst
s hardcore chippie idm. mmfan316 is one of the earliest nanoloop music
ian in Japan who will soon debut from USA. K-> is one of the most rece
nt Little Sound Dj user, but brings quite refreshed Konamic pops. W2X
is an unknown robotic chip composer who uses GBC or MSX. Hex125 is imp
ressive about super tricky funky style. He's now directing Little Soun
d Dj Japanese support page. Btw. Little Sound Dj added some excellent
features such as LSDj Patcher which allows you to change sample kits,
and KeyboardInterface to play Gameboy via PC keyborard.ֱ��ȥ�꣬�ձ�
�ķ���ҵоƬ��ּ����Ѿ���ˡ����Դ�nanoloop��ʼ֧��������ձ����ڳ�
�����һ����chiptune��ߡ� cow'p��19-t�����ձ���ɹ���Gameboy��ּ�֮
һ���������ר����Africa�������Ӳ�˵�оƬ����������� mmfan316���ձ�
�����nanoloop�����֮һ�������������������K->������Little Sound Dj
�û�֮һ�����������൱ˢ���ʵĿ����������֡�W2X��һ����֪��Ļ�
���оƬ���ң�ʹ��GBC��MSX��Hex125���ӵķſ˷��Ҳ����ӡ����̡����
����ڹ��Little Sound Dj������֧��ҳ�档����Little Sound Dj����һЩ
����Ĺ��ܣ���LSDj Patcher���������ı���������Լ�KeyboardInterface
��ͨ��PC���̲���Gameboy��http://www.vorc.org/en/columns/hally/2002best
10e.html (Link: http://www.vorc.org/en/columns/hally/2002best10e.html)
���⣬hallyҲ�ᵽ��2002��ǰ��Χ�ƺ�׻���NSF��ָ�ʽ�Ĺ��ߴٽ����ձ�
����������Ⱥ���ϵ��һ���棬2001��׵ĺ�׻�MML��ֱ����mck���ձ���
���оƬ�����Ⱥ����ܡ���һ���棬NerdTracker2��cheestracker�ȿ��Ա༭
NSF�ļ�����ֱ༭��Ҳ�����ձ��������صİ����ߴ�������������

As with hardware/software development, cultural revolution caused by m
ck is also worth to mention. Some non-Japanese composers such as Virt,
Rugar and Nulsleep started to use mck. You know, graphical tracker st
yle has been the standard method to compose game/demo tunes for Europe
an/American people. So Japanese simple (for better or for worse) text
based style called MML has been out of understanding. At least most of
people weren't motivated to enter with this way. But mck started melt
ing such an ice wall.��Ӳ��/���ķ�չһ���mck�����Ļ��ϵĸ��Ҳֵ
��һ�ᡣһЩ���ձ������ң���Virt��Rugar��Nulsleep��ʼʹ��mck����֪��
������ŷ��/������˵��ͼ�λ���Tracker���һֱ�Ǵ����Ϸ/��ʾ��ֵı�
׼��������ˣ��ձ���ΪMML�ģ����ۺû��������ı��ļ򵥷�����������
�⡣��ٴ����˲���Ը�������ַ�ʽ�����������mck��ʼ�ڻ�����ı�ǽ��S
o Virt translated mckc manual to English. It's the first MML guide wri
tten by non-Japanese. And nullsleep also explained how to use DPCM for
mck. Then Rugar released "My Girl, The Princess LP", the first MML mu
sic album compiled by non-Japanese. NES - the common background betwee
n two chip music culture - met the internet which makes us forget the
national border. Those factors caused such unheard-of collaboration.��
�ˣ�Virt��mckc�ֲᷭ����Ӣ�ġ����ǵ�һ���ɷ��ձ���д��MMLָ�ϡ���nul
lsleepҲ����������mck��ʹ��DPCM��Ȼ��Rugar�����ˡ��ҵ�Ů�������LP��
�����ǵ�һ���ɷ��ձ��˱��Ƶ�MML���ר������׻���������оƬ����Ļ��Ĺ�
ͬ���������������������ǹ���Ļ��������Щ���������������δ�ŵĺ��
��On the other hand, other music editors to make NSF files such as Ner
dTracker2 (for DOS/Windows, Dec.) and cheestracker (for Linux, Jan.) w
ere brought. Now you can select your favorite ways. Hope this revoluti
on will cause a little change to Japanese ossified chip musicians who
isn't motivated to compose their original music yet.��һ���棬���NSF
�ļ�����ֱ༭�Ҳ����ˣ���NerdTracker2������DOS/Windows��12�£���che
estracker������Linux��1�£������������ѡ����ϲ���ķ�ʽ��ϣ��ⳡ���
�ܸ���Щ��û�ж������ԭ����ֵ��ձ�������оƬ����˴���һ��ı䡣Ϊ��
�ձ�δ������ʾ������

���Dz��������ձ�оƬ���ͣ�͵�ԭ���ձ���û��һ��������ʾ�����ij���
�̳кͷ�չоƬ��ֵ�����������Ϊʲô�ձ�û�г�����ʾ�����أ��ձ���Ϸ
�����ߣ���������68k������߼����һ ��@yosshin4004���ڡ���ʾ���������
ǰ�ձ���״�������ǥ⥷�`��k���ǰ���ձ���״�r�� (Link: https://yosshi
n4004.github.io/demoscene/japanese_scene/index.html#Why_the_demoscene_
did_not_exist_in_Japan) ������˽���ϸ���ܽᣬ���Ϊ���ձ�ȱ����ʾ����
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A��LSDJ��һ��O��Output����������ض������������������������û
�ж���������ƽ��ľ�ȷ���ơ����������й��������������ĵ�Ч����
�꾡�����ۣ��ɹ��ο���https://chipmusic.org/forums/topic/19588/how-do-
i-make-a-true-stereo-snare-in-lsdj/ (Link: https://chipmusic.org/forum
s/topic/19588/how-do-i-make-a-true-stereo-snare-in-lsdj/)