This track is from the album Dungeons & Dragons - Official Roleplaying Soundtrack and is available for purchase on CD Baby here: http://www.cdbaby.com/cd/midsyn5

Prelude

Need for Speed: Carbon (Original Soundtrack)

Crew Race 3: Sounding Streets

01 - Russell Brower, Derek Duke & Glenn Stafford - Wrath Of The Lich King (Main Title)

Composed by industry veteran Howard Mostrom, the Planetary Annihilation Original Soundtrack is a moving, sci-fi influenced orchestral score that juggles serenity, devastation, and exploration with soothing strings, soaring tones, and powerful percussion. 
Brought to life by an 80-piece orchestra and a full choir, the Planetary Annihilation Original Soundtrack weaves an emotional tapestry that speaks to both the creation and destruction seen in Planetary Annihilation, Uber Entertainment’s strategy game on personal computers. 

In Planetary Annihilation, players can colonize worlds, fight battles with thousands of units, and pulverize planets by sending asteroids on collision courses. Available now on Steam and other providers.

19 Formed For Greatness

07 Conquer The Stars

Soundtrack from Syphon Filter game, created by Chuck Doud

Syphon Filter (1999) — Washington Park/Freedom Memorial Park (Suspense)

Donation Link

The Guardian Legend Remix VIII - I Have Failed (Computer Core)

Winter's Night

Этот трек является не моим, этот трэк часть саундтеков написанных к игре
Horizon Zero Dawn — компьютерной игре в жанре Action/RPG с открытым миром,
разработанная нидерландской студией Guerrilla Games и изданная Sony Interactive Entertainment
для игровой консоли PlayStation 4 в 2017 году. Композиторы саундтреков:   
Йорис де Ман
The Flight 
Нильс ван дер Лист
Джонатан Уильямс

(This track is not mine, this track is part of the soundtracks written for the game Horizon Zero Dawn is an open-world action/RPG computer game,
developed by Dutch Studio
 Guerrilla Games and published by Sony Interactive Entertainment
for PlayStation 4 
game console in 2017. Soundtrack composers:   
Joris de man
The Flight
Nils van der Liszt
Jonathan Williams)

Horizon: Zero Dawn

The Spreading Eclipse - Part 4 - Secrets of the Earth

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

Gris (Original Game Soundtrack)

Unagi

Dr. Kurt James Werner is a Lecturer in Audio at the Sonic Arts Research Centre (SARC) of Queen's University Belfast, where he joined the faculty of Arts, English, and Languages in early 2017. As a researcher, he studies theoretical aspects of Wave Digital Filters and other virtual analog topics, computer modeling of circuit-bent instruments, and the history of music technology. As part of his Ph.D. in Computer-Based Music Theory and Acoustics from Stanford University's Center for Computer Research in Music and Acoustics (CCRMA), he wrote a doctoral dissertation entitled “Virtual Analog Modeling of Audio Circuitry Using Wave Digital Filters.” This proposed a number of new techniques for modeling audio circuitry, greatly expanding the class of circuits that can be modeled using the Wave Digital Filter approach to include circuits with complicated topologies and multiple nonlinear electrical elements. He composes electro-acoustic/acousmatic music including elements of 1-bit, chiptunes, musique concrète, circuit bending, algorithmic/generative composition, modular synthesis, and breakbeat.

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

Kurt James Werner

Related tracks