วีดีโอ

I'm curious, how do you get the separate tracks?

Cool :)

hey i dont know what kind of software it is, dont know what kind of music it is but i like it !

Awesome!

god damn this is fucking awesome holy hell i love it!!!! good job!!! youre super good at this

this so nice

5:19 classic TV jingle atmosphere of an 90s news or weather news (in Italy), I love it, nice track

OKAY WOW YOU GOT SPOTLIT! So I was wondering where these went given that the last one you released was on like 18th of December 2 months ago, so it's good that they're back! 0:00 okay good you removed that dumb synth bass sample that was only there because I would have felt bad for not including it. 0:07 I mean I hate that darn bass so much that I completely forgot what it was even playing and thought that this was a reference to the future SYNBELL part. In fact, I forgot about it so hard that when I wrote the SYNBELL part, I just did it as a funny reference to Ice Cap Zone, not even realizing that I already had the bass doing a similar thing in the first pattern. I should probably also say that the drums sound nice and are pretty laid back thankfully, starting with Are Wet Waffles Cool Then?, I've been on my drum arc where I try to learn how to make a good drum pattern by just injecting it into every song, so this song got affected too. 0:06 This snare sounds very nice. 0:15 I love myself a good pitch bend. 0:18 idk if this is a reference to Purple Motion Starshine, but at least something is happening during this otherwise uneventful section. 0:23 oh nice some delay/echo/reverb on the piano good ol' But uh, Delete. style! Also it sounds epic. 0:28 originally I was put off by the VI->VII instead of just going to the VII, but it's grown on me over the past like 30 minutes, it sounds very cool and epic. 0:47 nice counterpoint between the KASIO voices, I should definitely add more counterpoint to my songs, like the last time I've done that was in Are Wet Waffles Cool Then? (unless But uh, Delete. counts), and counterpoint is just really good. 0:53 the return of the SYNBELL! 1:09 skipping straight to this section was probably the right call, no idea why I did a whole chorus and verse thing, probably because I knew if I didn't the song would be too short. And that's a problem with the songs I've been releasing recently, I feel as they're all way too short and just end too soon, part of the reason why is because I REALLY don't want to annoy the listeners by having endless repetition and that, so I just end the song before I can get on their nerves. But repetition legitimizes, so I still have to do some and that just leads to a more boring song structure where not a lot happens and it's only 2 minutes long like it's a song by Minecraft Dream. I like the string samples better here, reminds me of these trumpet samples from this toy keyboard in my music theory class that literally has saw waves as some of the instruments that aren't saw waves. 1:17 okay good you still got the slow build up of bass before the ANALEAD comes in with the main melody. 1:24 IDK what you did to the strings or why, but it sounds good, no idea why you didn't play it by itself earlier because it would work, but I guess maybe it's to avoid having the whole song structure just be a lame and lazy crescendo. Like another bad influence on my music has to be Winds of Fjords, I feel like every song I write is just some crescendo where instead of having meaningful changes to what happens, I just do the lazy route of just adding more junk on top of it to have the illusion of depth, while in reality I'm just padding out the runtime by just having it just be a single pattern that just gets added to like the OST from Slenderman the Eight Pages, but instead of being a singular song with a lot of vertical adaptive music, it's just some dumb CaryKH Tavfile clone, even though we both made our songs with the exact same amount of time spent in a music theory classroom and me most likely having more experience than him because he isn't the one who makes music for fun, that's Michael. He he I did the extra reverb/echo/delay on the main melody of that before you did, and I did it even better as I used 4 channels instead of 3. 1:41 nice Tremelo. It was probably necessary to vary up the rhythm on the chords for this section, as I'm just repeating the same thing I did again in I Don't Write a Melody, except with in infinitely worse chord progression as this dang progression is only 4 chords long like some cookie-cutter idiotic pop song, but even worse as I'm not even putting lyrics to it and there is no preformed aspect to it at all, just a bunch of stupid notes I scrawled onto a spreadsheet over the course of 3 days and thought it was good enough to force people to hear that garbage. Plus the chord progression on I Don't Write a Melody isn't even that good, Oh wow! going around the circle of fifths counter clockwise? how creative! and what if after that, I just have some root position triad chords just go up and down by whole steps as who cares about doing anything original. The only thing that saved that section from sounding like absolute garbage was that bass piano passing tone part, which doesn't even work as the timbre between the two instruments are so wildly different that it just doesn't mesh well. Same thing with that counterpoint in Dogdie, those random notes I played on my keyboard somehow worked perfectly with my music theory exercise 1 of a song with the literal Mario cadence chords and accidentally ripping off a song I've never heard of because of how generic it is. It could have somehow accidentally, been actually somewhat listenable, BUT NO! We got to have the bargain bin Big Jim Voyage to Eternity broken merry-go-round chorus that is so ever important, we can't forget how creative I was by being the first American to discover the AABA song form, a real Tommy Tallarico move with my levels of genius I must of had to be the first American ever to find basic song form. But even with the small section that we heard in the song that's one iota of the whole, it still sucks because I gave the closest thing to a melody that that song had to a percussive instrument, so it was all too muddy and none of that counterpoint worked at all. 1:57 heh, this kind of sounds like the warning alarm that your ship is going down in Zeppelin Wars, also kinda like SYLEAD too. 2:10 this bass part sounds good, but is too quite and doesn't come in through that well. 2:12 nice harpsichord sample that turned into the chord samples from Ice Frontier (I know they're supposed to be like guitar strumming but I don't care anymore.) 2:27 oh hey the drums are back! And because it's not this idiot doing them, they actually sound good and are nice and isn't just the same thing over and over again of not doing anything remotely interesting with the hi-hats, straight monophony, and always started the same of (bd-hh-sn-hh-bd-bd-sn-hh) like I'm Ringo Starr, but I'm not him, I'm just a cheap knock-off who could never write anything remotely interesting for a percussion section, but because I'm even worse at writing ambient music C418 style, I add drums anyway and they just make everything sound worse, plus it gives me another layer to continue the gosh awful never ending crescendo, by showing the most mediocre drum line you've ever heard, and pretending it's a masterpiece like Big Jim's work in Voyage to Eternity. Although one thing I will say is I feel like there's something missing in the pitch space that should have been filled in this section to make it sound fuller and more impactful, but audacity's spectrograph doesn't show such a thing, maybe it's getting filled up all by the drums. I know that there's a lower bass part too, but it's so low that it's barely audible and I doubt they could be heard on bad speakers, which goes against a lot of the lo-fi ambient vibe that's being gone for by using synths primarily from the late 80s early 90s. 2:47 so you actually brought back the hook from the beginning instead of leaving it to rot like an absolute amateur, that's good, although idk what you did with the syncopation, I don't think it sounds bad however. 2:54 this bass sounds pretty nice, reminds me of the one from Sticker Brush Symphony, speaking of which. 3:02 this drum pattern is also a lot like Sticker Brush Symphony, and Outrun the Nightmare too, which is good as both of those songs are bangers. At least it's better than my attempt of Cutting a Shoe-in, but that song doesn't matter as that song was so short, like how brain dead did I have to be to ever think that that was an acceptable idea? 3:09 of course we got the use of hi-hats, as anyone who isn't an absolute moron can do a task like that that is so simple as to use a hi-hat, but of course I can't. 3:18 nice a breakdown, good ol' fast tempo, of course I couldn't do anything like that as going anything above a note per second is too fast for my stupid brain. 3:29 epic KASIO solo. Yeah good song and it deserves the spotlight.

sounds very nice^^ i like it alot

So good!!!

love it!

Underrated

Banger

👏👏👏

Sounds like something you would hear from 90s capcom like Street fighter 3

Time for analysis! 0:00 I guess this sample adds to the circus feeling that this song gives off from being in 3/4 time and organs. 0:06 I like the new piano sample it sounds good, although I'm not sure if it was good as it got rid of the iconic piano sample that played an integral part to the past three songs in the chain, although it was a bit low-fi so it makes a bit of sense. Also it goes faster than the original, I think its not as bad as I think it is as it's just different and allows you to expand the third section more. Good choice for not really modifying the first 30 seconds that much besides what has already been described, its a bit important for the contrast and crescendo. 0:29 honestly I like the SMS SNARE way more than the hihats I used, it just sounds better in a way I don't know how to convey. 0:33 I knew I really had something with the organ appearing in the first section in the original, and you brought it out in your version beautifully. 0:41, I like the snare roll with those funky samples and the bells, they're super calming and nice. 1:01 that's kinda cool, although with the increased tempo its a bit hard to keep up, and i think that ultimately you should maybe have just changed the last measure as that alteration rocks. 1:05 NICE, it's the blaster sound effect thingy hardware sweep, basically I don't know what it is. Changing the organs to this sine/sawtooth wave im not sure what to think about, it's a lot less timbrely complex and I don't know if that's good or bad. 1:12 the flute is pretty nice however, I do like that part at least, I mean it fits way better than that dreaded saxophone. 1:28 I really like the change the change you made with the piano 1-5-8-5 arpeggio, it's a lot less annoying and more southing, but man, why did you have to downgrade the parallel sixths harmony to parallel thirds? It's a lot less drastic and sounds less cool and interesting, it blends in with the parallel thirds of the first section's piano. 1:39 okay I really don't like the change of samples here, you changed the 1-5-8-5 from this backing part that didn't take up to much attention to this loud attention grabbing piano sample, and I don't think it works. You see a big problem I had with this song is that while Section 3 connects nicely back up with Section 1, Section 1 doesn't fit nicely with Section 2, so having the 1-5-8-5 arpeggio stay the same was a bit crucial to having another transition be a bit more seamless, that being the Section 2 to Section 3 one, but the swapping of the sample in the break between patterns just makes it work together less and makes this song seem even more dispersed. 1:43 OH MY GOODNESS, THERE IS SO MUCH GOING ON, AND I LOVE IT! IT MAKES IT FEEL SO FULL IN THE MIX AND IT'S PERFECT WITH ALL THE REVERB! 1:51 I was thinking when writing the original to double up this pattern, but I felt like that'd make the song too repetitive and slow, however, THE FASTER TEMPO CAME IN CLUTCH AND YOU WERE ABLE TO PULL OFF WHAT I WASN'T ABLE TO! 1:59 small nitpick: the TEMPLEAD is a bit quiet. 2:16 okay good the flute ended in an answer. 2:26 HOW THE HECK WERE YOU ABLE TO MAKE THIS RANDOM SAMPLE OF SOMEONE SAYING GOOD MORNING SOUND SO TRIUMPHET AND AWESOME? Overall, the first segment was pretty faithful to the original and didn't have much changed, although there wasn't enough to change without going the Gewuerfelte Kugeln route. The second Segment wasn't the best it could have been, I remember thinking when I wrote the lead melody for this section that it was super lame and could have been made so much better, but I couldn't think of how to make it better given the fact that I wrote it, I hoped that an outside perspective could have came in and fixed it for me, but you just kept it basically the same. The third segment was almost flawless, it was as grand as Big Jim Of a Land Beyond Hope, and I was going to say Solstice, but both of us know that'd it'd take years before we could write a masterpiece anywhere close to that masterpiece.

my god i love impulse tracker songs

cool track. love it!!!

literally obsessing over this track

Hi there! I recently discovered this underrated show, and I really love the animation. I was wondering if I could translate this show into Chinese and upload it to Chinese social media platforms since many Chinese people have limited access to the social media we commonly use. Of course, I'll give proper credit, and I promise not to make any profits from it. also, when I finish the translation, I'll provide you with the SRT subtitles thank you!

0:26 What's this???

When is the demo going to put on youtube?

ITS NOW TIME FOR THIS SONG'S PSYCHOANALYSIS! Anyway funny discount pentatonic intro thingy that's the same as my song aside so I can give critique on what you did. First of all, 125.0681. Second of all 0:22, the original version of this song that I composed just using the black keys (which wasn't really too pentatonic, it's just d# minor, without the 2 or 6) I thought of the chord progression being somewhat like i-VII-v-iv, but I didn't know much so it was just an octave lower going down, and triangle waves because I put it in famitracker for some reason. The reason why is because I like the Andalusian cadence too much, so it was a bit funny to see the chords go back between i-VII, because that's BASICALLY the Andalusian cadence, at least more than the .ftm file. Also nice 4 on the floor beat, or is it a 2 or 1 on the floor? I mean there isn't a floor, these are all just amazing digital files! 0:31 this snare roll is pretty cool, better than Big Jim's patented putting three snares at the end of every other pattern, like I have to show you the famitracker module for my remix of Cold Fear, it literally just goes between 2 patterns for the entire song. 0:42 for some weird reason I thought these snares were sampled from the amen break when I first heard them, but the waveform doesn't look like a sample, I don't know, maybe someone did some weird recreation of it, maybe that's what wavetable is? Also personally I wouldn't had gotten rid of the BellVoic polyphony, maybe I think it's way more important than it is, but it seriously can't be more valuable than the chords that sound like they're from a vamp (man I watched that Alex Yard video about Ice Cap Zone too many times). Personally I don't know if I like the change at the end of the the 4 measures, but it might grow on me, it keeps the melody/loop unique. For some weird reason, I don't really like the bass too much when it sounds isolated. It sounds like just a bunch of random notes, like having the root makes sense, but why does it go down to the 7th, and then the 5th, and then the new root, and then some fourths, and then back to the first root, then the 6th, then 5th, then 7th? I mean I have basically no idea how to write a bassline and it somehow makes the overall mix better through some music theory wizardry probably. 1:08 nice toms. 1:09 the bassline sounds way better here in my opinion, which is good as it has to carry more with this more minimal bridge section. Also what's with that choir sample, it sounds so much like 1VOICE, but it so clearly isn't, and the waveform confirms it, so like what's going on? Like I checked it with the Roland SC-55 and that one also sounds pretty similar, but the waveform looks completely different there as well. Anyway that section sounds nice. 1:19 this melody reminds me of something, but I forgot what. 1:29 EYYYYY! You didn't completely throw out that section with the terrible rhythm tracking, I really need to go back and fix that section to make it actually listenable. I've never seen the J command used before. 2:01 EYYY you did the COSMAJ/COSMIN, but with the BellVoic ,love me some good COSMAJ/COSMIN, still don't know what's the name of that. 2:11 nice staccato discount Moog synth (I know it's a Casio) and nice NIGHTMAR sample, funfact: that sample dates back to the eighties as the earliest song I know that uses it is from Blood Money (1989). 2:21 I don't know what you did to the main melody here, but it sounds nice! Also the drums there are very groovy, and I like the pitch slides there too. For the readme.txt that I completely disregarded your instructions and instead opened the file(which windows thought was for the powder toy originally funnily enough) in notepad and scrolled all the way to the bottom. I probably should do that too with some of your other files, OR, just make .IT files. I never complained about there never being a Scream Tracker 1 because it thought .STMs were from Scream Tracker 1 and that in-between that and .SM3s were .SM2 files. For the reason, I'm guessing Future Crew (they did make the tracker right?) really liked the number 2, i.e. Second Reality, maybe because they're from the future and decided to give us the second iteration first, which in that case why wasn't Scream Tracker 3 called Scream Tracker 1? It would have been so funny! Idk why but the including the original patterns in the module file reminds me of Necros's remix of Ice Frontier where he kept all the original patterns, but made new ones. Uhhh, thanks to Hip for causing this module to get finished I guess. For my closing thoughts, I can't think of any.. I rest my case.

Əla!

DOS in the 90s was sure something

ok

Cool

What

Good shit

wejammin

u got some clipping in them waveforms

Very nice!

Don't know how I came across this, but I'm 1:10 in and my head has been nodding the whole time. I'm mesmerized

Living in the 80s

Banger

whoa. i like it. very cool.

Oh boy! It's RepellantMold trying to fix this song attempt #3! I'll listen to the whole thing later as I still need to do rm-dkop stuff.

0:00 I like the triangle wave arpeggio?(I think it's an arpeggio), it somehow works despite being pretty simple, and the strings are nice too. Okay but seriously, why did it take me so long to realize that AHARP is just triangle waves? 0:45 man I really got to stop thinking of drum patterns as this thing that needs to be basically a really long fill throughout the entire song, but it still works to have simple and repetitive drums like here. 1:30 gee, it's a melody (I should probably start writing those!), maybe, I actually can't tell, and in the very nice 12.5% pulse wave length wave square waves. Also what's with those bass samples, they're like a mix of triangle, sawtooth, and sine waves, pretty confusing in my opinion. 1:58 okay I think this one is an actual melody, can't wait for the module to get uploaded onto the modarchive tomorrow so that I can see what kind of sample that is. 2:12 pretty nice bridge here too, getting us ready for the part in which is about to ensue, about meaning 40 seconds, okay yeah I feel as is the bridge is too long, It's around a 6th of the song, just for something we've already heard. 2:55 see? you can actually do that and keep it interesting here, first with a funny click percussion and what sounds like a phone ringtone and then a crescendo oh boy! 3:27 another thing I need to do when I get the mod file tomorrow is to see if any interesting harmony is happening here, I'm not sure yet as it could just be polyphony between the voices or even just heterophony and they're just completely unrelated. Also that is probably one of the best uses for a 4 on the floor beat for a non house track. 3:35 I guess might as well add crash cymbals why not? 3:43 oh boy, it's basically some cellos! 3:50 yeah while this cacophony sounds, I would have appreciated if it was longer than 2 seconds, although I guess songs are supposed to tell stories, and that include instrumentals, so maybe it's a part of it. If there is anything Ice Frontier taught me is that if you want to have a crescendo, you must end it with some chords from I Want it That Way. I guess about the whole being 19 thing, Big Jim was 19 when he made most of his great music so so can you, I mean I guess he also had 4 years of experience in the British equivalent of high school and college composing scores, but that's just the game! Also whenever I get actually good at tracking I should compete in a demoparty, or I COULD DO IT NOW AND GET 40th PLACE OUT OF 42 PEOPLE MUH-HAHAHAHAHA! Probably not though.

I did the most btw.

I don't want to psychoanalyze a whole 10 minute long song so it'll be short, i like the amen break, it's a shame it wasn't used in dkop, wonder how it would have sounded like, probably pretty bad if it didn't make it in. The sonic samples are nice and the sample 2 "Gang Sub.wav" reminds me of something (also I legitimately forgot that sample names didn't need to be caps lock with all the other modules I've seen). Nice synth pad chords at the beginning at part V, and the sine waves too, they remind me of that really nice organ sample from DKOP that I'll be sure to cherish. I also like how the amen break was played at such speeds that it did that whole "rhythm=pitch" thing, I wonder if mod trackers are powerful enough to actually allow people to write competent melodies. Why does part VI have discount solaris daylight? Nice ending. Anyway, so my overall thoughts on it is that it's very good, I really enjoy that's it's very close to being through-composed which makes it feel very grand and nice, although patterns getting repeated a lot was kinda annoying, the through-composed kept it from actually becoming a problem. I would heart this (and DKOP) on the mod archive, but it doesn't let me to, so oh well! I guess another point is you should have probably added in video chapters or pop ups on screen saying the section number in name so that the people on TH-cam could also experience that part of the module. I guess another thing is maybe you could slightly alter the background for each section so that it looks more distinct, but that could potentially be distracting so it'd make sense if you didn't.

sDon't know why I took so long to listen to this, but yeah it's good. 0:08 I like this alternate version of the BIGSYNTH.4, its very bassy and fills the acoustic space well (probably not the right term for that term). 0:16 Pov you put on headphones, also nice LSTR.2 at 0:19. 0:30 wow, imagine being able to write drum lines, couldn't be me! 0:38 actual snare samples that aren't DPSNARE from basically every Big Jim song is nice, because he way over used that. Also killa ANALEAD line, I really need to do that motif development in songs more where I just play the same melody but in a different instrument instead of constantly trying to make dull counterpoint. But like it makes that bridge actually good section that wasn't just thrown in because my song needed to have 3 distinct parts. And you did it again at 0:53, personally I blame Big Jim because he never did anything like that to his songs besides maybe in Cool.mod and Of a Land Beyond Hope, but yeah it sounds nice. 1:01 AGAIN? this is starting to feel like a guitar solo in an actually competent song, especially with the harmony that's like parallel fifths. 1:09 nice keychange, and very good job at making the throw-away section actually sound competant. 1:16 nice transition section, it actually fits very well. 1:23 I love how you tried to make the opening better, and ended up making it sound even more like Marvel's "Why can't you remember me.." with the four notes played in succession with the last one being higher than the octave, but hey! It has a better sense of forward motion. 2:02 I like the different echo crazy train effect here, it sounds different. But I don't really get the change of ANALEAD here, because as someone in the tracking discord server said, it sounds like a merry go round, so an ANALEAD which is pretty close to a square wave which itself is close to a calliope lends itself to that, and maybe you did do that in your recent cover you made that I refuse to listen to until I can get my own cover of DogDie out on famitracker as to not influence my judgement. 2:17 the speedup and instrument change kinda reminds me of Of a Land Beyond Hope with the opening guitar riff being played at double speed with the Skaven Ice Frontier instrument, sounds pretty nice. 2:21 I love that bass you added there, and if there is one thing I can't write that isn't a drumline, it's a bassline. 2:29 okay good you kept the originally middle-4 in, I would have been severely disappointed if you put it in the new key as it removes some of the energy and excitement that is gained through moving towards and back from it.

What the actual f*** is that