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TraxWeekly Issue 086
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| TraxWeekly Issue #86 | Release date: 26 Jan. 1997 | Subscribers: 940 |
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/-[Introduction]------------------------------------------------------------
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Welcome to TraxWeekly #86.
Thank you, readers! I recieved a large batch of articles this week in
the mail, so many that I couldn't even include them all for this issue.
Also, my apologies for a(nother) late release. Hopefully, missing TW for
a few days has not ruined your weekend (it shouldn't =).
Lots of tracking articles covering numerous subjects from effects to
hexadecimal round out this issue. I also recieved some letters from RAR
supporters who have something to say about their preferred compression
standard.
Enjoy!
Gene Wie (Psibelius)
TraxWeekly Publishing
gwie@csusm.edu
/-[Contents]----------------------------------------------------------------
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________ _________________________________________________________________
/ ____/_/ __/ \ __/ / _____/ \ __/ __/ ___/_
< \____\ \ \\ \ \\____ __/ __/_\ \ \\____ \_____ \__
\ \ \ \\ \ \ww\ \\ \\ \ \ \ \ \_
_\________\________\\___\____\ \_____\\_______\\___\____\ \_____\_______\
Letters and Feedback
1. Letter from Udi Meiri
2. Letter from Maz
General Articles
3. An Outsider's Look into the Demoscene.........Era
4. Impulse Tracker Tip of the Week...............Pinion
5. Intro to Music Theory: vol 5..................Greg Heo
6. Hexadecimal 101...............................Chinaski
7. Wrecking Samples with IT......................Graham
Closing
Distribution
Subscription/Contribution Information
TraxWeekly Staff Sheet
/-[Letters and Feedback]----------------------------------------------------
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--[1. Letter from Meiri]----------------------------------------------------
Date: Sat, 18 Jan 1997 12:33:16 +0200
From: Meiri <meiri@ibm.net>
To: gwie@mailhost1.csusm.edu
Subject: Re: Compression Quality of Music
Regarding smallest tracker file size: Since a song is %90 more or less
samples, you shouldn't be troubled by tracker file "overhead". Only MDL
files have compressed samples, so use Digitracker instead.
If you believe that all people should convert their modules to IT's, you're
dead wrong. I believe that the original format should be preserved, since
it was the wish of the composer to create the song in the specific format
that he chose. Changing the format might also change the song
(incompatabilities between trackers). People shouldn't go and distribute
converted modules. Don't you hate AMF's?
Regarding archiver performance: I'll have you know that RAR is not mainly
preferred for it's user interface, but for it's superior compression.
Setting up "normal" and "multimedia" compression and turning off the "add
recovery record" option in RAR will yield %50-%55 compression for ALL
modules. I have no idea what options or version you used, but here are my
results for Mech8.s3m:
RAR (2.00) using normal and multimedia compression, and no recovery record
(lha, pkzip, and arj don't support this, so it'd be unfair to turn it on
since it increases the file size), Arj (2.50a) using best compression,
Pkzip (2.04g) using best compression, and LHA (2.55b) using best
compression:
MECH8 ARJ 474029
MECH8 LZH 476550
MECH8 RAR 428551
MECH8 S3M 745436
MECH8 ZIP 472339
RAR using best and multimedia compression:
MECH8 RAR 427909
Note that there is very little to be gained by using best compression, and
it take a while longer to compress this way.
My suggestion to any listeners that need the extra disk space and use Cubic
Player or any other player that supports rar is to compress their songs
into one rar file. (don't make a solid archive - it'll take forever to
extract!) It gives me a total compression ratio of %54 percent over 601
songs (of all types of formats) and saves about 75mb. Extracting a single
song doesn't take too long either.
Udi Meiri
meiri@ibm.net (no, I don't work for IBM)
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--[2. Letter from Maz]------------------------------------------------------
Date: Fri, 17 Jan 97 12:05 SAT
From: maz@fh-zwickau.de:
To: gwie@mailhost2.csusm.edu
Subject: Compression
Hi there!
I guess you will get tons of mails from RAR-"fans" regarding the
module/packer-test (a "test" with only 2 different files has no value by
the way ...):
> Test Two: Mechanism 8
>
> Mech 8 in Scream Tracker Format MECH.S3M 747,596
> Mech 8 in Scream Tracker Format RAR MECH_S_R RAR 478,933
How the hell such a big file with RAR? 50 K bigger than my quick RAR-test??
Dictionary-Size 128K, Best Compression, MM-Compression, No Recovery Record
I RARed it and got - guess - 427072 (it was mech8.s3m, not mech.s3m, but I
guess that will NOT make the big difference)
I wrote a program for my www-pages, which depacks + recompresses any
archive I put into my pages. This little proggy tests ZIP, ARJ, LHA (always
with best compression) and RAR in 9 different commandline switch
combinations (all dictionary sizes + more...) - if the file itself is
bigger than let's say 50 K I don't need to test ZIP, LHA, ARJ, since I
NEVER got another result than RAR WINS. Even the DOS RAR-version can unpack
the MM-compressed files + bigger dictionary-sizes.
> So according to these tests Impulse Tracker is the best program if your
> going to leave your files uncompressed. If you do decide to compress them
> use Fast Tracker and LHA.
LHA?? You better should do a module/compression test next time ...
> Generally though I have seen most people use
> either RAR or PKZIP. Why?
You really don't know it right?
> RAR has its own menu driven format
> which makes it a bit easier to use.
? That should be a reason? The reason is, that rar is the best on packrate
with it's multimedia compression!
Btw, I use the commandline win32 version - no NC-interface :)
> LHA unfortuanetly has recieve little
> recognition even though it is probably the best compressor.
Sure it's the worst. My experiences and I _DID_ tests.
I guess your "test" was a bit quick and dirty, right :)
RAR ruulez.
Bye,
MAZ
maz@fh-zwickau.de
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/-[General Articles]--------------------------------------------------------
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--[3. "An Outsider's Outlook Into The Demoscene"]--------------------[Era]--
(or "How to DEMOnstrate Originality to the Audience")
by Era / MARTYR from December 1996 to January 1997
in Montreal, Quebec
greetings my fellow #trax-ers,
well, i've been reading TraxWeekly and DemoNews for some time and
noticed something peculiar the other day. There seems to be loads of talk
about the commercial overtaking of the demoscene (a public invasion of the
demoscene's private underground sphere), but nobody ever writes from the
perspective of one on the outside. That is why I take this opportunity on
this day to write you this article for TraxWeekly. If you like what you
read here, I hope that I can write a whole series of articles centered
around the same topic.
The topic at hand here is what people outside the demoscene think
of trackers, coders, and graphists.
the ambiguity of tracked music
------------------------------
I'm sure there have been some of you musicians out there who have
composed something wonderful, only to be told by others that your music
sounds artificial. Even for those of you who write for yourselves, it must
still hurt somewhere emotionally to have your latest triumph dismissed as
'cheap video game music'. That's usually the typical reaction of someone
_NOT_ in the demoscene listening to a chiptune.
Has it ever happened to you that someone close (or distant) from
you has heard your latest masterpiece and said that certain riffs sound
exactly like some real-world artist? Does that suck to hear that kind of
cold rejection after putting in over 20 hours of your creative soul into
the song?
In many cases with tracked music lately, some rejection is most
certainly deserved. Critique is always important toward self-improvement
and nobody is going to improve in their art unless they swallow their
pride and listen to others' council. It might mean getting one's ego
bruised, but it can be valuable learning so do not take offense if that
occurs.
It's when you try to compose something original and it winds up
sounding like the usual commercial breakbeat (and worse still, everyone
you play it for notices), that massive rejection from real-worlders comes
into play (unless you acknowledge it to be a cover track).
I've heard advice from other trackers about listening to lots of
stuff on the radio or from tapes/CDs. This can be a pro and a con. For one
thing, it is good because you can get valuable _inspiration_ (notice I did
not say plagarism), hence giving you great new ideas to put forward. Also,
listening to other tracked music helps, although not too much because that
can have detriments. Case in point, there is a musician I have heard who
composes as if he's a living replica of The Zapper! / F10. Now, when a
musician simply emulates the style of another tracker, then that clearly
demostrates a lack of originality and creativity on their part. Lame! :-/
The bad thing about listening to other commercial music in the
real-world media is that it can "inspire" a musician so much that they
fail to realize they are not being original. They are simply indirectly
(sometimes through plagarism) emulating the style of their favorite music
in the media. I'm all for tracked music supporting all forms of music
(rock, heavy metal, new age, classical, grunge, industrial, jazz, etc.),
however I do not want to be reminded of the song off the radio I heard
yesterday. The whole point to listening to tracked music (in my opinion)
is mainly to get away from the crap we hear on the radio, in concerts, and
on tapes/CDs. If one truly wanted to hear commercial, mainstream,
real-world music, wouldn't they just stick to the traditional medium of
radio/TV or tapes/CDs?
Another issue has always been sampling: should we or shouldn't we?
Well, my opinion is that a lot of people out there just don't know how to
make good samples, so I think they should rip. But for those lazy asses
that know how and can make their own samples, I think they don't have much
reason to rip aside from laziness. I mean, of course samples are the
proper musician's tools. They have to be carefully selected and used, but
more trackers should make their own samples because it will sound more
authentic than by using someone else's sounds. Besides, it places your
song in a better context for the other person who is probably thinking
"wow! This musician really went all out for the listener...". Composing is
a process (refer to Necros' THE PROCESS series of articles) and sampling
is part of that process. Ripping is an evil necessity in some cases where
the sample one wants is a rare commodity, but where the option exists to
make one's own samples, such trackers should take full advantage of their
abilities.
The last thing I will speak of here is the concept of cover songs
and remix songs. Truth be known, I generally find that remixing an old
tune is a lot like doing a sequel to a blockbuster movie hit. The second
movie usually isn't as impressive as the original. That rule usually can
be applied to remixes done in tracked music. There are notable exceptions
but that doesn't disclaim the fact that remixes tend to be lamer than the
original rendition. I can't really express any advice here from the outer
limits except DON'T REMIX. I have to add here that remixing can be done
well if done rarely (some songs leave very little inspiration to rearrange
it -- choose well). Also, don't reuse the same patterns over and over as I
suggest again below. Try to make the remix your own flavor of the song.
Don't let it be a slighly modified copy of the original! :-/
Cover songs... what can I say? Most of the time, they are great.
The problem with them is that they are rarely fully appreciated because
they sound like some cheap imitation of the original commercial hit. I've
heard one from F10 that sounded pretty close to the original, but none
have ever reached that pinnacle of success. That has to do with the fact
that most trackers that do a cover song sample the same instruments used
in the original commercial song, but not the same _SOUND_. Also, there is
a lot of guesswork on the notes transposed into the pattern editor. So
what you get is rather a module cover song that sounds about 60%-80% like
its original counterpart. The idea I am conveying here is REALISM. With
16-bit sample capabilities of IT and FT2 and the CD-Audio ripping utils
out there, maybe trackers can achieve greater realism in their music and
we can hear cover songs that sound less artificial, less synthesized in
the future.
the false world of graphics
---------------------------
I don't know about some of you, but the latest breed of lame has
been unfolded within the graphists' world.
What am I talking about here? I'm taking about the lamers passing
themselves off as graphists just because they know how to use PhotoShop or
similar programs. It is really a sad state of affairs when a demogroup is
looking for graphists to join and realize that lamers are passing off work
that isn't even hand-drawn pixel for pixel.
I realize this is bound to offend and I am sorry. This is just my
opinion so please don't beat me for it! :-)
I mean, any fool with half a brain can use PhotoShop and create
beautiful swirling vortexes or kleidoscopic images using those special FX
that amount to over 1/2 a meg of non-creative crap. However, don't let
beauty fool you. These pics are often completed in like 15 minutes and
show no talent save for an adeptness at using PhotoShop, not drawing. Real
graphists should be able to handcraft their works without the need of such
effects in PhotoShop or related products.
the wacky old world of demos
----------------------------
I have to admit before I go into this that I have my own set image
of what a demo should be. Please pardon my confusion at any of the
elements of demos should there be any.
One frustrating thing about demos is their lack of creativity.
Mind you, I have seen a few that stand out in the crowd. Namely, some
demos from Nooon, Kosmic, and a few sparse others. The simple fact is that
most demos simply show off the coding abilities of the coder more so than
they convey something of artistic beauty. Who cares about plasma effects
or some of the other overdone demo patterns we've all seen in a million
other demos before it?
My personal vision of what a demo should be is this: the artistic
expression of coder, musician, and graphist combined. Not a power trip for
some coder to show people that YES, he/she can copy effects his/her fellow
coders began 2 years ago! Anyway, I hope people take this idea seriously
and we see some semblance of improvement in the demoscene soon.
Demos are an audio/visual computerized presentation, so why not
make them more like, say for example: music videos, than programming
algorithms.
getting in the last werd
------------------------
It's things like seeing repetitive music (STOP REUSING THE EXACT
SAME PATTERN 4 OR MORE TIMES!!! ARGH!!!) that define my pet peeve...
please don't drag out a song any longer than it needs to be. The length of
a demo, pic, or song is simply measured by the imagination of its creator.
Well, I hope this article has given you all a broad outlook on how
the real world perceives the underground demoscene. I personally think it
should remain underground. Anything mainstream usually becomes corrupt
soon after. The whole elitism of the scene is ridiculous, but in any
social structure such as this quite inevitable. The Hornet Team, despite
criticism for its lack of objectivity in ratings (hey, they're only
human!) are doing the demoscene a great service but I feel that they could
improve their objectivity if their ratings were more detailed.
Anyway, please send me feedback on this article and I hope it will
generate enough demand so that I can continue this series. Can't wait to
hear more of your tunes... :-)
Era / MARTYR [admin/poet/listserv]
era@myth.org
http://www.myth.org/~era/
----------------------------------------------------------------------------
--[4. Impulse Tracker Tip of the Week]----------------[pinion (Ryan Hunt)]--
---------------------------------------------------------------------------
Tip #6: ping-ponged drum loop trick
---------------------------------------------------------------------------
Often times I've heard drumloops played in reverse to affect a fill or drum
break. Now you could get this effect by loading up the drumloop you're
using into the tracker and then reversing it, but that would waste valuable
file size, and the idea it to make modules as tight as convieniently
possible. Here's an easier way using IT or FT2. Very easy...
<step one> Take any give drum loop (some sound better than others) and give
it a ping-pong loop that encompasses the entire sample area (ie- the loop
starts at 0 and ends at the last byte.)
<step two> Trigger the drum loop as usual within your song, but when you
want the backwards effect use the sample offset command (Oxx) to start the
sample playing at the exact point where the ping-pong starts going backward.
It may take some experimentation to get the excat value, but if you're good
with hexdecimal you can figure it out.
That's it. That's all there is to it. One thing to note is that if your
drum loop is larger than a certain number of bytes (I don't the exact value
right now =) then you will need to use the set high order command (SAx
where x is a value in hex) before using the Oxx command. It's recommended
that you reset the high order to 0 again after doing the offset, because
the reset value will carry through to future patterns.
If you need further information on this trick or have an idea for a Tip of
the Week email pinion@netcom.com
-pinion (phluid)
email: pinion@netcom.com
web : www.acid.org/phluid/newmain.html
----------------------------------------------------------------------------
--[5. introduction to musical theory: volume five]--------------[Greg Heo]--
[introduction]
Welcome back. Today, we will explore the vast field of chords: the
building blocks of harmony. I'll get straight into it...almost ;).
[intervals]
I'm taking a step back here, because I didn't mention this earlier.
Basically, intervals refer to the distance between two notes. Consider:
# of semitones apart name
0 unison
1 minor second
2 major second
3 minor third
4 major third
5 perfect fourth
6 augmented fourth / diminished fifth
7 perfect fifth
8 augmented fifth / minor sixth
9 major sixth
10 minor seventh
11 major seventh
12 perfect eighth (octave)
Note that only the fourth (subdominant), fifth (dominant) and the octave
are considered 'perfect' tones. This will come in later when we discuss
basic harmonization.
[symbolization]
Just some abbreviaions I use:
+ or M: major
- or m: minor
A: augmented
d: diminished
P: perfect
[the major triad]
triad = three. this is the very simple one. It uses I, III, and V.
Go track them...wow, sounds pretty :). actually...it's quite boring.
But we'll get to that later...
"triad" also refers to the distance between notes. Consider a major
triad in the key of C:
C <--+
} major third apart |
E |------ perfect fifth (P5)
} minor third |
G <--+
And a minor triad:
C <--+
} minor third |
Eb |------ P5 again
} major third |
G <--+
So what about the other combinations...+3 +3, and -3 -3??
[more triads]
Well, there's the minor one of course (look up there). An _augmented_
triad is the +3 +3 combination. Note that in this chord, the total
distance is _not_ a P5. This causes the chord to sound a little 'funny'
sounding. I use the term 'funny' in comparison to a regular P5 triad.
Try it out and see (hear?) for yourself. The diminished triad is the
-3 -3 combination, and has the minor third in it, giving it a minor sound.
Again, it is not a P5 chord. Like I said, go try it out. You gotta
listen to this stuff to learn it.
[root position and inversions]
These triads are said to be in _root_ position. This is because the I is
at the root, or bottom, of the triad. Now...try playing the notes in a
different order...III, V, I. Note that the I must be the highest note
now. We've kept the same notes, just changed the order. This is known
as _inverting_ the chord. III-V-I is _first_ inversion. V-I-III is
second inversion. And there you have it...here's an example
root |C-4 .. ...|E-4 .. ...|G-4 .. ...|
1st inversion |E-4 .. ...|G-4 .. ...|C-5 .. ...|
2nd inversion |G-4 .. ...|C-5 .. ...|E-5 .. ...|
Inversions are _very_ important to break the monotony of having every
single chord in root position.
[consonance and dissonance]
Back in the olden days, composers set down rules as to what sounded
right, and what didn't. Of course, this is all completly subjective, but
today's western music is based on this, so I'll discuss it...
Consonance is the good sounding stuff. P1 (unison), P8 (octave), P5
and P4 are the _perfect consonance_ intervals. The _imperfect consonance_
intervals are M3, m3, M6, and m6. Finally, the dissonant ones are
whatever's left :).
Notice that in discussing triads, I said they sounded 'funny', but now
you can impress everyone and say "i found that this particular tune used
many dissonant chords." wow.
[chords as accompaniment]
The major triads of I, IV, and V form the basis of simple harmony.
Take the example song of, "twinkle twinkle little star" (in the key
of C major)
00|C-5 ...| I chord (C) 16|F-5 ...| IV
|... ...| |... ...|
02|C-5 ...| 18|F-5 ...|
|... ...| |... ...|
04|G-5 ...| 20|E-5 ...| I
|... ...| |... ...|
06|G-5 ...| 22|E-5 ...|
|... ...| |... ...|
08|A-5 ...| IV chord (F) 24|D-5 ...| V
|... ...| |... ...|
10|A-5 ...| 25|D-5 ...|
|... ...| |... ...|
12|G-5 ...| I chord (C) 28|C-5 ...| I
|... ...| |... ...|
14|... ...| 30|... ...|
|... ...| |... ...|
Remebering our scales from last week, and the triad information in this
issue, we can easily construct these chords:
track position 00: C major (no sharps/flats)
I, III, V are: C E G
position 08: F major (B is flat)
I, III, V are: F A C
position 24: G major (F is sharp)
I, III, V are: G B D
And there you have it. Simple harmonization with the perfect tones.
[conclusion]
Well, we've scratched the surface of chord theory, but there's still
A lot to cover. Next time, we'll discuss seventh, ninth, and suspended
chords.
until then,
greg - [river@io.org]
----------------------------------------------------------------------------
--[6. Hexadecimal 101]------------------------------------------[chinaski]--
Howdy.
I'm called chinaski. You aint heard of me, 'cause I havent released any
tunes (yet :p).
I've been tracking for about 8 months now(i know what yer thinkin: "F%#king
newbie!"), but I figure I would have started a bit sooner if it weren't for
2 things:
1. Totally inadequate (ST3) and incomplete (FT2) documentation, and
2. What the hell is HEXADECIMAL?
Now, I can't answer the first problem, what with my 2-fingered typing
skills and all, but for all the non-programmers and "newbie" trackers out
there, maybe I can help with hex.
Hexadecimal is a numeric system that is "base 16" or has 16 characters: 0
-9 plus ABCDEF(as opposed to decimal, which has 10 - 0123456789.). Usually,
a prefix of 0 or a suffix of "h", and sometimes both, are used to show that
a value is in hex.
(Take a look at the addresses for the com ports on an msdos machine......
It uses both.)
Now, 0 thru 9 work normally, but then comes the tricky part. For 10, you w
ould simply use "A", 11 would be "B", and so on. So a quick little
reference chart would be something like this:
0 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27
0 1 2 3 4 5 6 7 8 9 A B C D E F 10 11 12 13 14 15 16 17 18 19 1A 1B
So you see, to get the decimal equivalent from a Hex number, like say
02Eh,you could multiply the digit that is second from right by 16. then
add to it the digit to the right of it. So, 02Eh (remember, the "0" and
"h" are _not_ part of the value.)
/ \
2x16=32 + E {14} = (decimal) 40.
See? Easy. :) Well, actually it can be confusing to people who already
know it, so it can take a while to just get used to it.
Tracking software usually only uses hex values of 0FFh (256) and smaller,
so that can narrow it down a bit. Sometimes it helps to have a calculator
nearby for parameters that require precise values. Maybe even a chart like
above might help until you get it ingrained into your head.
I hope that this is easy enough to understand ( I tested it on my
girlfriend, who hates anything computer-related, and she started to grasp
it.....:)). It has helped improve my tracking (and gave me a little head
start for my computer science classes ;)
Now, go track some music !
P.S. -If anyone has a better explanation, or notices a mistake in mine,
by all means - let me know!
Regards,
chinaski [curt crosby]
----------------------------------------------------------------------------
--[7. Wrecking Samples with Impulse Tracker]-------[Graham the Happy Scum]--
Fun ways to destroy your samples on the Sample Window (F3), which may
or may not prove useful.
1. smoothing samples
Do this in either 8-bit or 16-bit, although 16 bit works better. Alt-E
changes the length of the sample with interpolation. To smooth it out,
which has more of an effect on high frequencies than low, simply hit
alt-E, increment the value in the dialog window by 1, and possibly hit
alt-E again, and decrement the length by 1. This tends to murk the sample
up, but it should be useful in someways
2. a really crude 'noise-gate'
Take a sample (this works best on percussion sounds, like hihats, snares,
and claps), Alt-A to unsign it, and Alt-M to amplify it slightly
(something like 103 or 104 percent.), then Alt-A to resign it. Really
sucks, especially at high values. The main effect is that it reduces low
sample values to zero, and makes some samples 'staticky'.
Probably better to use something like CoolEdit for noise-gates.
3. doing them tres funky 24-note-in-an-octave scales:
load a sample twice. multiply the sample rate of one by 1.0293 (which is
2^(1/24) for math-boys :), and enter that value into the playback rate one
of the samples.
Use the two samples in conjunction in your compositions for instant Ravi
Shankar melodies. (well, not quite instant. The actual melodies are left
as an exercise for the reader.)
Enjoy!
Graham the Happy Scum (gths@flat-earth.org)
----------------------------------------------------------------------------
/-[Closing]-----------------------------------------------------------------
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TraxWeekly does not discriminate based on age, gender, race, political
or religious statures and standpoints.
The staff can be reached at the following:
Editor: Psibelius (Gene Wie)..............gwie@csusm.edu
Staff: Atlantic (Barry Freeman)..........atlantic@arcos.org
Benjamin Krause...................orogork@cs.tu-berlin.de
Fred (Fred Fredricks).............fred@paracom.com
Kal Zakath (John Townsend)........jtownsen@sescva.esc.edu
Kleitus (Seth Katzman)............katzms@rpi.edu
Mage (Glen Dwayne Warner).........gdwarner@vinson.navy.mil
gdwarner@ricochet.net
Graphic Contributors:
Cruel Creator . Stezotehic . Squidgalator2 . White Wizard
TraxWeekly is a HORNET affiliation.
Copyright (c)1995,1996,1997 - TraxWeekly Publishing, All Rights Reserved.
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until next week! =)
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