cool music

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J-E-N-O-V-A - Final Fantasy VII (COVER)

Hello everyone! 

Today is the day! A new song coming out. This time is Earthbound because it's my favourite game of all time and I will always gonna love making music from this game.

Remember to like, share and comment.  I really appreciate the support of all of you in these times. Also, you can support me becoming a patreon today! www.patreon.com/setoness I will really apreciate it if you do it. 

If you have any questions, suggest or request write me to  setonessvgm@gmail.com 

Have a great time listening!

https://www.instagram.com/setoness_vgm/

Earthbound - Twoson

music, album cover: @narek_ps

♪♪♪乁( ◕_◕乁)

After half a year of VGM covers and experimental chiptunes, I decided to bring back FamiTastik and gauge my learnings during these months. Following the spirit of Vol.1, FamiTastik Vol.2 is a collection of stories yet untold and sceneries yet unseen narrated through videogame music.

Thank you all who have supported me and my music during these times. (◕‿◕｡)

~~~~~~~~~~~~

~Is this the beginning of a long journey with FamiTastik? Who knows, we'll see.~

Music made entirely with Dn-FamiTracker using the VRC6 expansion chip (without using any samples in the DPCM channel) and no post-processing whatsoever, apart from some gentle volume leveling and limiting. The .nsf file containing all of the compiled tracks is included with the album.

( *o*) whats dis

1. Loading

I found my first composition ever on an old flashdrive :D
It was a long time ago...

First Composition Ever

Studiopolis but its Persona 5

this: https://www.youtube.com/watch?v=y9M1JwkijM8

Nintendo + Gradiente (Playtronic) Commercial (SMW Version)

Game: Mother 3
Song: And El Mariachi
Composer: Shogo Sakai

Mother 3 - Track 81 - And El Mariachi - Paper Mario 64 SoundFont

Game: Mother 3
Song: Formidable Foe
Composer: Shogo Sakai

Mother 3 - Track 101 - Formidable Foe - Paper Mario 64 SoundFont

Game: Mother 3
Song: Snowman
Composer: Shogo Sakai

Mother 3 - Track 186 - Snowman - Paper Mario 64 SoundFont

The latest root of sine collection demonstrates a clutch of talented artists exploring the way of the sine. Employing diverse techniques such as the glitch melodics of Michael Santos to the chaos patterns of Johan Zwart the results are compelling.

+ local [michael santos]
+ remembered root of sines [celibacy club]
+ the queen of brooklyn [bluermutt]
+ just intonation [henry walmsley]
+ spine theft [stheft]
+ sinebulb 2 [unknown artist]
+ sinebulb 3 [unknown artist]
+ sinebulb 4 [unknown artist]
+ a sign in grain [johan zwart]

Root of Sine - Volume 4 is available from the PROJECT page of
http://www.audiobulb.com

just intonation [henry walmsley]

i have been wanting to do something with the keygen soundfont for a while but just didnt have any ideas but now i do so Its Ok

Bandcamp: https://blastoiseveteran.bandcamp.com/track/kiigen-party-main-menu-wii-party-arrangement

Kiigen Party (Main Menu - Wii Party Arrangement)

This track was written to demonstrate the harmonic possibilities of using higher harmonics freely whenever the composer wishes, without the bounds of a traditional scale, but within the bounds of major/minor/seventh harmony. It is also quite funky!

Harmonics of 11ths, 13th, 23rds etc are prominent in this composition, without being overwhelming in their unusualness. The highest prime harmonic used was the 127th harmonic in the final melody! E#''' was also used (125th harmonic)

It was written using a new notation system which has been devised to make accessing higher harmonics as intuitive as possible (it still takes a bit of getting one's head around!). Please contact me if you would like to see the score written in this notation system, or for details about how this notation system enables interesting harmonic composition outside of the bounds of the Western 12-note scale to be realised.

It qualifies for chiptune since although it is (much to my shame) 16-bit 44100Hz audio instead of the pure 8-bit, the sounds were synthesised from scratch using modified sin/saw waves, with a bit of band-limited noise thrown in for good measure. The synth took as input CSV 6xN matrices as sequence files, and processed in Octave/MATLAB to give MP3 output which you hear here.
---------
update 10th Apr 2015:

Here is a brief description of how the MP3 track was generated:

Just Intonation Notes (1/1 4/3 7/4 etc) <-> New Notation System (C F `Bb~7 etc) which is easier to read than pure numbers and where the letter corresponds (roughly) to the position in the 12ET scale
-> Excel block of chords and melody notes for visual presentation to composer (.txt)
-> Excel long (~1700 columns) of calculated note letters, frequencies, note lengths, etc
-> Excel final sequence file with 6 columns: channel, start time, frequency, note length, loudness, stereo position (.csv)
-> Octave/MATLAB code to take the 6 columns and turn them into chiptune (.mp3 or .wav)
-> Sometimes extra post processing in Audacity for final .wav

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See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Sonata 1 'Cheery' - Chip Synth, Justly Intoned

This is a justly intoned arrangement of J. S. Bach's Prelude in C Major, the first Prelude of the 48 Preludes and Fugues, a body of work by Bach which demonstrated that with tempered tunings every major and minor key was usable.

As well as being one of my favourite pieces of music, I thought it would be worthwhile to demonstrate that this music sounds just as interesting (maybe more interesting!) in Just Intonation (JI), where exclusively rationally-spaced intervals are used. JI is the natural way of tuning intervals. It derived from harmonic series, which are produced by string and wind instruments.

Due to the 'wrap-around' nature of tempered tunings, some transitions (e.g. D minor to G major) are good transitions in tempered tunings, but sound 'further away' or less harmonious in JI. Also, transitions from ,D' to `D (10/9 to 9/8) and from C to `C~7 (1/1 to 63/64) are noticeably microtonal shifts. Some people might like them, some might not. Personally, I like them. The major advantage is the purity of all the triads and seventh chords, which in my opinion outweigh the 'disadvantages' of having noticeable microtonality.

As always, I've slipped in an 11th and 13th harmonic (the 11th is obvious, the 13th less so). I refuse to write any new music which does not contain both 11th and 13th harmonics.

Another interesting feature was Bach's usage of diminished chords. My favourite justly intoned diminished chord is the sequence 10:12:14:17:20:24:28:34:40 etc. Hence, some 17th harmonics have been used, wherever there is a diminished chord, in both 17/1 and 1/17 formats (and 5/17).

Hence, this track contains all the harmonics 2, 3, 5, 7, 11, 13 and 17. I will attempt to remedy the lack of 19, 23, ..., 127th harmonics in my next upload.

Enjoy!

Dave

------------------------

Bach number of this track: BWV846 or BWV 846

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Bach BWV846 Prelude in C major - Chip Synth, Justly Intoned

This is a justly intoned arrangement of Chopin's Etude in C Major (Opus 10, No. 1), the first Etude of his series of Etudes which demonstrated his new piano performance techniques.

Although Etudes are usually technical exercises, Chopin's are special since they are immensely listenable with intricate harmonies.

I have retuned Chopin's harmony to have much more than 12 notes to the scale. More to come (hopefully soon!) about the notes which have been used. Concisely, the major and minor triads and sevenths have almost everywhere been preserved, and Chopin's use of sequences leads the harmony down very interesting and long paths in the 7-limit tonal lattice. A couple of jarring transitions are where the harmony jumps up by a syntonic comma (or 7-limit comma). As always, 11th and 13th harmonics are smuggled in, in some of the diminished chords near the end.

Enjoy!

Dave

------------------------

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Chopin Etude in C Major - Op. 10, No. 1 - Chip Synth, Justly Intoned

8bit | Huckoh - 위잉위잉 (Wi ing Wi ing)

8bit | Hyukoh - 위잉위잉(Wi ing Wi ing)

pythagorean tuning vs. just intonation. c5 scale

Show me your moves! Falcon quotes aside, here is an F-Zero cover I did recently. I wanted to do a more synth orientated cover for my next VGM cover and so I ended up picking “Silence”, from the first F-Zero game on the SNES. It was also a case of me really wanting to do an F-Zero cover as it’s one of my favourite gaming franchises. Whilst GX is my favourite game in the series, I really dig this song and thought it would make for an interesting rendition. 

I’m very proud of the outcome of this cover. The sounds I got out of the keyboard were perfect and set up a nice sci-fi synth vibe. I also managed to play the bass part with fingers competently, considering I am still a novice on bass, especially when playing with fingers. And I’m very pleased with how the trumpet section in the original track translates nicely onto guitars, as well as the rhythm guitar I wrote for this rendition. As I am still learning about mixing I also believe I did a decent job with the mixing, doing the best I could with what I knew and what I had. 

Hope you like my cover and stay tuned for more VGM covers in future.

F-Zero is the property of Shigeru Miyamoto and Nintendo. 

Equipment used:

Interface: Lexicon Alpha USB
DAW: Cubase LE 5
Drums: MT PowerDrumKit 2 (Drumming assembled in drum editor)
Bass: Ibanez GSR180-BK
Bass amp sim: AudioAssualt Bassgrinder VST
Keyboard: Yamaha PSR-200
Rhythm & Lead Guitars: Epiphone Les Paul Standard
Harmony Guitars: Ibanez GRG270B
Guitar amp sim: Peavey Revalver HPse

F-Zero - Silence (Synth/Metal Cover)

This track is constructed from all chords using the numbers 1 to 6 which meet certain criteria. Using whole numbers to construct harmony is 'Just Intonation'. Both the otonal chord (a, b, c) and the utonal chord (1/c, 1/b, 1/a) were used.

This track is intended to help composers to familiarise themselves with the chords available in 5-limit harmony.

For example, (3, 4, 5) is a (G, C, E') major triad in the second inversion. It is otonal, and its utonal counterpart is (1/5, 1/4, 1/3) = (12, 15, 20) which is (G, B', E') minor triad in the first inversion.

The rules for including a chord (a, b, c) were:
  a < b < c
  gcd(a,b,c) = 1
  4/3 <= c/a <= 4/1
  chord is otonal, which is (abc)^(1/3) < lcm(abc)^(1/2)

The final otonal harmonies found were:
1	2	4
1	3	4
1	2	3
2	5	6
2	3	5
2	4	5
2	3	4
3	5	6
3	4	5
4	5	6

The corresponding utonal harmonies were:
1	2	4
1	3	4
1	2	3
2	5	6
2	3	5
2	4	5
2	3	4
3	5	6
3	4	5
4	5	6
(note that 1 2 4 does not have a utonal counterpart)

Each harmony was used 3 times, by multiplying each chord by 6, 8 and 9, giving versions in keys of C, G and D.

They were then arranged in:
  descending order of MaxRatio = c/a
  ascending order of bass note 'a'
  descending order of middle note 'b'.

I hope that you find this track useful! Dave.

PS apologies for the lack of 11th and 13th harmonics, however those were not part of the construction schema :/

------------------------

See also:
- https://arxiv.org/a/ryan_d_1 (arXiv) for a list of my academic paper pre-prints, including my writing on music theory and Just Intonation
- http://orcid.org/0000-0002-4785-9766 (ORC ID) for my academic profile
- https://www.linkedin.com/in/davidryan59 for my LinkedIn profile

Example track of 3 note harmonies in Just Intonation constructed from the numbers 1 to 6

Originally adapted from an OHC: http://compo.thasauce.net/rounds/view/OHC397

Download .ftm (requires 0CC-Famitracker 0.3.14.2 or later, see http://hertzdevil.info/programs/ ): https://www.dropbox.com/s/xe1087hjzvoz8eb/OHC%20397%20Titanic%20Storm.0cc?dl=0

This song is Creative Commons licensed. You may re-use it for any purpose you wish as long as you attribute it (and let me know that you did!)

OHC397

Titanic Storm

Cover para o 2º tributo Guitar Hero do Fórum Cifra Club.
Todas as guitarras foram gravadas por mim (exceto a base do solo).



PH - Talk Dirty to Me (2º Tributo Guitar Hero FCC)

[8bit Arrange] Pocket Monsters Sun & Moon ED - ジャリボーイ・ジャリガール(Brat Boy, Brat Girl)

A MIDI re-creation of the Gourmet Race from KIrby Super Star.
Soundfont is Yamaha YMF262 OPL3.

Kirby Super Star - Gourmet Race (OPL - 3 FM Sound Fonts) (SEGA Genesis Cover)

Day 6 - Minty Fresh Snow

Synth cover of aquatic ambience from Donkey Kong Country. My favorite game soundtrack. Sometime I put on the SNES and just let it sit in this level. I used the microbrute, microkorg, behringer model d (only for withe noise) and volca keys.

Donkey Kong - Aquatic Ambience (Synth cover)

Ｒｅｍｅｍｂｅｒ

❤️ 𝐋𝐈𝐊𝐄, 💬 𝐂𝐎𝐌𝐌𝐄𝐍𝐓, 💌 𝐒𝐇𝐀𝐑𝐄 𝐚𝐧𝐝 🧡 𝐅𝐎𝐋𝐋𝐎𝐖 to stay updated for more!
› ᴠɢᴍᴜsɪᴄ sᴇʀɪᴇs ᴘᴏsᴛᴇᴅ ᴏɴ ᴍᴏɴᴅᴀʏs. 
__________________________________

Ｓｕｐｐｏｒｔｅｒｓ

𝐒𝐏𝐄𝐂𝐈𝐀𝐋 𝐓𝐇𝐀𝐍𝐊𝐒: αмelιorαтιoɴ pαтroɴѕ
★ 𝐌𝐆𝐗
★ 𝐈𝐑𝐋_𝐑𝐚𝐩𝐭𝐨𝐫
★ 𝐀𝐫𝐮𝐦𝐚𝐫𝐤𝐞𝐫
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Ａｒｔｉｓｔ

ғᴇᴀᴛᴜʀᴇᴅ ᴍᴜsɪᴄɪᴀɴ: sᴜʙᴠᴇʀsɪᴠᴇᴀssᴇᴛ

🎷 𝐘𝐎𝐔𝐓𝐔𝐁𝐄:
https://www.youtube.com/channel/UCUcmQ_fOgaZZzRref3hhw3g
🎷 𝐅𝐀𝐂𝐄𝐁𝐎𝐎𝐊 𝐏𝐀𝐆𝐄:
https://www.facebook.com/subversiveasset/
🎷 𝐓𝐖𝐈𝐓𝐓𝐄𝐑: 
https://twitter.com/GASpriggs
🎷 𝐒𝐎𝐔𝐍𝐃𝐂𝐋𝐎𝐔𝐃:
https://soundcloud.com/andrewspriggs

=======================================

ғᴇᴀᴛᴜʀᴇᴅ ᴀʀᴛɪsᴛ: ᴍᴀʏᴀ ᴊᴏɪ ᴀʀᴛ

✎ 𝐖𝐄𝐁𝐒𝐈𝐓𝐄:
https://mayajoi007.wixsite.com/mayajo...
✎ 𝐅𝐀𝐂𝐄𝐁𝐎𝐎𝐊 𝐏𝐀𝐆𝐄:
https://www.facebook.com/mayajoiart/
✎ 𝐓𝐖𝐈𝐓𝐓𝐄𝐑: 
https://twitter.com/Mayajoiart
✎ 𝐓𝐔𝐌𝐁𝐋𝐑:
https://mayajoi.tumblr.com/

-𝐂𝐨𝐦𝐦𝐢𝐬𝐬𝐢𝐨𝐧𝐬 𝐏𝐫𝐢𝐜𝐢𝐧𝐠-
✦ $50 for Portraits
✦ $70 for Full Body
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Ｐａｔｒｅｏｎ

▶ https://www.patreon.com/DesoloZantas

Please join me on this journey to making dreams come true. If you could donate at least $1 to my patreon a month that would be a huge help for me, but if you can't donate I understand, just remember to SHARE THE LOVE (that would be helpful as well.) :) 
__________________________________

Ｄｏｗｎｌｏａｄｓ

♪ Original from 𝐊𝐢𝐫𝐛𝐲 𝐓𝐫𝐢𝐩𝐥𝐞 𝐃𝐞𝐥𝐮𝐱𝐞: https://www.youtube.com/watch?v=QhHlINWG6Do

♫ 𝐃𝐎𝐖𝐍𝐋𝐎𝐀𝐃 𝐒𝐎𝐍𝐆 𝐇𝐄𝐑𝐄: https://desoloz.bandcamp.com/album/desolo-zantass-youtube-discography
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Ｃｏｎｔａｃｔ

**𝐒𝐡𝐨𝐨𝐭 𝐦𝐞 𝐚𝐧 𝐄𝐦𝐚𝐢𝐥 𝐟𝐨𝐫 𝐂𝐨𝐦𝐦𝐢𝐬𝐬𝐢𝐨𝐧𝐬**
▶ 𝐄𝐌𝐀𝐈𝐋: ᴅᴇsᴏʟᴏᴢᴀɴᴛᴀs𝟸𝟶𝟷𝟾@ɢᴍᴀɪʟ.ᴄᴏᴍ

(ᴄᴀsʜ ᴀᴘᴘ ᴀɴᴅ ᴘᴀʏᴘᴀʟ ᴀᴄᴄᴇᴘᴛᴇᴅ)
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Ｓｏｃｉａｌ Ｍｅｄｉａ

⬤ 𝐈𝐍𝐒𝐓𝐀𝐆𝐑𝐀𝐌: 
https://www.instagram.com/desolo_zantas/
⬤ 𝐓𝐖𝐈𝐓𝐓𝐄𝐑: 
https://twitter.com/Desolo_Zantas
⬤ 𝐒𝐎𝐔𝐍𝐃𝐂𝐋𝐎𝐔𝐃: 
https://soundcloud.com/desolozantas
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The World To Win -Rearrangement- (feat. Subversiveasset)

Higher - Rem Lezar

DOWNLOAD

Pokemon Diamond/Pearl/Platinum - Eterna City(Solo Piano)

s3xmoditminia entry - Round 1
arena.sincx.xyz/battle.php?id=23

dj-jamster-PSYCHIQ - GOOD FEEL (LIVE @ THE METAL TANK 2000/07/07 (RARE EXTENDED MIX)).mp3

this was fun to make, esp because i really like this theme

also i do not care that it's inaccurate because i pitch bended the bass a single time mainly because it sounds better with it, i tried to find some way to have it sound good without the pitch bend but nothing i tried worked (now that i think about it... i guess it could technically be accurate if it was a separate sample? let's just say that's how i did it.)

Battle Against a Clueless Foe (S5B Cover) - Mother 4 Soundtraaaack!!

I'm into Just Intonation (JI), which is using harmonics (or undertones) to generate music. Over time, my profile will fill up with wonderful and melodious New Harmony, fresh from the infinite vaults of the original and best source of harmony, Just Intonation.

I’ve written some papers on the music theory of Just Intonation. You can check them out via the arXiv link below. Topics include the mathematical analysis of harmony (in Just Intonation), and a notation system to cover all of Just Intonation.

Enjoy listening!

Example track of 3 note harmonies in Just Intonation constructed from the numbers 1 to 6

David Ryan