Moody Cougar was begun a few days before the yearly Mega Mountain Meltdown that is held in the mountains of Norway near GOL. A place where Stein invites our group to meet and celebrate for a weekend.

I was able to attend the meeting this time and on the saturday, we all decided that the C64 scene needed a little demo from us. So "PRIVATE PARTS" was begun. But it needed some music. Stein created a trance/techno styled intro theme and I began on this one. Late that night, I was done and so was the demo. Now "PRIVATE PARTS" was a reality.

http://csdb.dk/release/?id=160050

Moody Cougar

Track I did for fun using SID sounds and current sounds...
The Lead sounds are SID, bubble sounds later on are SID, and various ditties are SID and the 64 vocals are SID... Enjoy

Next stop 6581

This is my personal Tribute to the great Ben Daglish who sadly passed away on the 1st October 2018.

This is a orchestral mix of "Firelord" we did together a few years ago, and Ben and I re did all the parts again in my Studio, and recorded all the new Flute parts as well. Ben wanted to do a Acoustic version, which we did, but we had idea of doing a orchestral version as well while was at it, we spent Friday evening until Sunday afternoon in the Studio non stop, and this is the outcome. 

Some Amazing Memories of working with a incredible creative and talented individual. 

Will be Sadly missed.......R.I.P Ben Daglish.

Ben Daglish - Firelord  (Orchestral Version)

1-Bit ZX Beeper track
Recorded from a real 48K ZX Spectrum

Taken from the 2018 album 'Spectronica'
https://tufty1.bandcamp.com/album/spectronica

SPECTRONICA

Space Beeps

A first song made using then-new Buzzkick engine - a variation of the FuzzClick/SpecialFX engine with sampled drums and few minor differences. Originally composed and half-finished in March 2016, was laying around just until January 2019.

Just On Time

System Beeps

Floppy Flips

Bringing the surf to Project Hubbard! Here's a preview of my surf remake of the River Caves subtune from Dragons Lair II, original C64 tune by Rob Hubbard. The full version will be included on the CD "Hubbard Remixed" as part of the Project Hubbard Deluxe package (ETA Sep 2019 from C64Audio.com). Follow the link to the preorder page;https://c64audio.com/collections/chiptune-remix-projects/products/project-hubbard-deluxe-pre-order?variant=49579731213

Album

Johan Andersson - Dragons Lair II (River Caves Surf) PROJECT HUBBARD PREVIEW

My entry for the ZX beeper compo at DiHalt Lite 2019. Took 1st place. Made with the wtbeep engine. Recorded from ZX Spectrum 48K hardware.

transporter

tl;dr—"Return of the Obra Dinn" is excellent, and I reworked part of its soundtrack as a strict 1-bit composition, mirroring its crisp, retro 1-bit graphics. Scientific description of some aspects in this paper: 
Working link: https://www.researchgate.net/publication/336915189_Generalizations_of_velvet_noise_and_their_use_in_1-bit_music
Original link (broken?): (http://dafx2019.bcu.ac.uk/papers/DAFx2019_paper_53.pdf)

"Return of the Obra Dinn" (2018) is a fantastic game released in 2018. Its creator, Lucas Pope, describes Obra Dinn as "An Insurance Adventure with Minimal Colour." The graphics are entirely 1-bit, meaning that each pixel of the screen takes on only one of two possible colors: light or dark (nominally white or black). This hearkens back to the visual display style of old computers with  monochrome monitors, like the Commodore 64 or Apple IIe, and gives the game a unique and beautiful aesthetic. To represent grayscale values, Pope uses a technique called spatial dithering. Cleverly, he actually deploys a variety of dithering algorithms (including sometimes suppressing the dithering entirely) to differentiate textures in the game.

As a cover and tribute, I've rearranged part of the game's original (rollicking, acoustic) soundtrack—part of the music from the "Unholy Captives" chapter—in a 1-bit *musical* style. This not only mirrors the 1-bit graphics of the game, but mimics the 1-bit "beeper" audio capabilities of many early computers like the Apple IIe and ZX Spectrum.

1-bit music poses a unique compositional challenge. First of all, there is no signal amplitude control, making volume control difficult. Furthermore, in the 1-bit domain, addition of 1-bit signals does not properly exist. This is because certain values can be added (0+0=0, 0+1=1, 1+0=1), but the operation 1+1=2 cannot, since "2" is forbidden! Strictly speaking, this limits polyphony to one sound. Working around these limitations to produce music that is not monotonous and can express chords, layering of multiple instruments, and convincing audio effects becomes quite the task.

In this track, I manage to coax up to 6 layers out of the sound at once: bass, a three-note chord, a melody, and percussion. Part of the trick is just interlocking parts in the arrangements—here, for instance, the bass and chords rarely play at the same time. But in general, there are moments where up to 6 sounds have to be expressed with only 1 bit. The layers are mixed using a custom XOR-plus-error-feedback 1-bit mixing engine, combined with judicious use of thin pulse widths, custom 1-bit wavetable synths, and a special kind of sparse noise that can be XOR'd with signals without overwhelming them. Furthermore, the melody employs what I think may be a novel feedback delay effect that operates entirely in the 1-bit domain to give a sense of space to the track. This is mostly a note-for-note cover of Lucas Pope's original—involving elaborate 1-bit trickery in the sound synthesis, arrangement, and audio effects—but I did take one small liberty: an extra half measure of percussion added just before the start of the final phrase at 0:39.

The special sparse noise sequence is called "crushed velvet noise" and is described in my 2019 DAFx paper "Generalizations of velvet noise and their use in 1-bit music," available here: http://dafx2019.bcu.ac.uk/papers/DAFx2019_paper_53.pdf.

I've deviated from a strict 1-bit construction in just one way—The entire track was processed through Plogue's Apple IIe impulse response to make it sound like it is coming out of a real Apple IIe speaker, rather than being a "raw" stream of zeros and ones.

"Unholy Captives" from "Return of the Obra Dinn" (Lucas Pope, 2018): a 1-bit cover/tribute

Metroid - Brinstar [SCC-alike, 5B+N163]

This is a version of my older NES chiptune re-done with Reaper and a set of my 1-bit related VSTi plugins and SoundFonts. Detailed info: https://www.patreon.com/posts/lost-in-pseudo-1-28964800

Lost In Hyperspace (1-bit version)

Hello

I'm Tufty

I've been interested in making music on the ZX Spectrum and Atari ST since the mid 1980s.

During the late 1980s and early 1990s I made quite a few tunes on the Atari ST using the Quartet music package and also released quite a few demos into the public domain.

These days I'm very much enjoying a musical renaissance making 1-bit music using vintage computers as instruments. 

I have released an album called '1-bit Mechanistic' on bandcamp and am working on other retro projects.

Btw, I added the 'Atari' to my handle to try and distinguish myself from the other tuftys (including that darn famous squirrel) on the internet these days :)

Space Beeps

Ataritufty