A Square Meal: ‘High Flyer’ by Karl Brueggeman

Originally Posted on the ChipWIN Blog on March 14th, 2019.
Edited by Aydan Scott.

About a year ago, the way I see, listen, and even make chiptune changed completely thanks to a brilliant album filled with funky rhythms and bright harmonies in a way I’d never imagined possible. So, when I discovered the songs were made using a huge range of techniques involving FM Synthesis and decided to delve into it, a whole new world of possibilities opened up to me. I discovered new sounds and styles; nearly infinite possibilities to express oneself through a limited sound chip.

A few months later, and with a musical phrase stuck in my head after clicking a link posted by President Hoodie, I realized the contrasting and flexible nature of FM chipmusic. All the credit for this epiphany of mine goes to a single person, whose fresh way of making music really stuck with me: Karl Brueggemann. Today, I want to talk about the album that made me realize just how cool FM Synthesis could be. So let’s take a look at ‘High Flyer’ by Karl Brueggemann, released through Super Marcato Bros.

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En síntesis: tempo y grooves en DefleMask

Uno de los parámetros básicos que causan más conflicto al momento de iniciarse en el uso de DefleMask es el de la configuración de tempo. Aunque algunos podrían pensar que es un asunto de sentido común, la realidad es que tiene matices un tanto esotéricos; o en un primer momento así pareciera. Aunque el manual ofrece una explicación, esta profundiza poco en el ajuste preciso de esta función. Hoy compartiré lo que sé al respecto para que puedas comprender un poco mejor esta característica. Claro está que siempre se puede hacer un uso más sofisticado mediante la aplicación combinada de técnicas (como el uso de los comandos 9 y D); pero hoy nos centraremos en lo básico.  ¡Vamos a ello!

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Amateur Translation: My Experience (And Some Tips)

In several ways, language is the backbone of civilization, not only because it allows us to organize our thoughts and share them with the world but because by doing so we took one of our first steps towards our shared humanity. Language, as a way of communication, is present in everything. However, there has always been a setback towards a “universal humanity” which goes beyond the thought lines: language disparity. Whether it be variations within a same language or a more obvious discordance between tounges, getting over that barrier is a phenomenon as old as humanity and oral expression itself. Translation is a noble activity; it has made possible a huge part of the Modern World. Everything, from Universal Literature to the sweet global commerce, gets benefits from translation. As it was at the beginning, the Digital Age let everyone who knows a little bit of another language to take part of this millenary tradition (which has its own detractors, but that’s a topic for another post). Today I want to share some of my experience in amateur translation.

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Samples tonales en DefleMask

El uso de cinco canales para muestras de audio en el módulo del YM 2151 de DefleMask es una gran herramienta para añadir elementos extra a tu música. Ya sean power chords, cuerdas, notas de piano, percusiones, etc.; puedes aprovechar esta característica para darle más cuerpo y personalidad a tus canciones. Sin embargo, si eres como yo, tal vez no hayas terminado de comprender cómo es que esta función también te permite cambiar el tono de una muestra. Hoy quiero darles una pequeña ayuda para que la puedan utilizar con más confianza. ¡Vamos a ello!

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Tonal Samples in DefleMask

Samples in the YM 2151 Module of DefleMask are a great tool for when you want to add more elements to your music. Whether it be power chords, strings, piano notes, drums, etc. – you can take advantage of this feature to give more meat and personality to your music. However, if you are like me, maybe you never completely understood how to use the feature that allows you to manipulate the pitch of the sample. Today, I’ll give you a hint on how to use it. Let’s take a look at it!

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