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founded march 12, 1995 _| : _____ t r a x w e e k l y # 59
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- | TraxWeekly Issue #59 | Release date: 05-23-96 | Subscribers: 571 | -
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/-[Introduction]------------------------------------------------------------
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,o@P'` ,o@P^"T@o, dSSSP^"T@o, ,o@P^"$$$b ,o@P^"T@o,
yyyy Q$$b Q$$b `$$$b `$$$b `$$$b Q$$b `$$$b Q$$b `$$$b yyyyyyyyy
$$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$b `$$$$$$$$
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$$$$$$$b `$$$b `$$$b `$$$b `$$$b `$$$b T$$$,.d$$P d$$$$$
$$$$$$$"` `"$$$$$$
$$$$$$; i n t r o d u c t i o n t o t r a x w e e k l y ;$$$$$
$SQ2$$$, ,$$iCE$
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Welcome to TraxWeekly #59.
We have two rather long pieces on tracking technique this week. Catspaw
continues with part of his series on improving songs through the technical
aspects of their creation, and Vivid addresses in-song effect processing.
It's "crunch" time for schools in the Northern Hemisphere, so apologies
if TraxWeekly hasn't been keeping up with music reviews this month.
Expect some better quality output starting in June! A reminder to those
charitable souls who contribute articles to TraxWeekly: please re-read the
format requirements. =) Thank you!
Gene Wie (Psibelius)
TraxWeekly Publishing
gwie@owl.csusm.edu
/-[Contents]----------------------------------------------------------------
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< \____\ \ \\ \ \\____ __/ __/_\ \ \\____ \_____ \__
\ \ \ \\ \ \ww\ \\ \\ \ \ \ \ \_
_\________\________\\___\____\ \_____\\_______\\___\____\ \_____\_______\
General Articles
1. The Finishing Touches.........................Catspaw
2. Tracking Hints................................Vivid
Group Columns
3. Explizit
Advertisements
4. New Italian Demo Site
Closing
Distribution
Subscription/Contribution Information
TraxWeekly Staff Sheet
/-[General Articles]--------------------------------------------------------
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--[1. The Finishing Touches]-------------------------------------[Catspaw]--
Intro
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~
Tracker nightmare #4,732:
*** DCC SEND:/usr/baygled/newtewnz.zip to necros completed 4.38 kb/sec
<baygledawg> necroze: t3ll m3 wh4t j00 th1nk 0f my n3w t3wn!%@%@!
Now is not the time to realize you forgot to put the finishing touches
on your song. :>
Last week, I wrote an article dealing with the finer technical points
of writing tracked music. Now granted, little technical details will not
necessarily make bad music good, nor will the lack of them necessarily
ruin otherwise good music... but little details can mean the difference
between a good song with potential, and a great song which has realized that
potential.
In each week, I'm going to repeat the following short section, which
explains the way I do demonstrations of actual tracking...
Example Notation
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~
In TraxWeekly 15, Basehead published a phenomenal article on tracking
tips. In this article, when demonstrating an aspect of tracking, he used an
ASCII simulation of an ST3 interface. Now I'm aware that not everyone uses
ST3 or Impulse Tracker, but it's what I'm most familiar with, and since
Basehead's diagrams worked well for me, I'm going to use them here. To wit:
| C#5 16 48 H83 |
/^^^ ^^ ^^ ^^^\
Note & Octave | | ST3/IT Effect & Amount of effect
| |
sample # |
|
volume
With that out of the way... on to today's spammage. :>
Spring Cleaning
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~
I know how it is to be really anxious to release your new song. :> Hell,
I've made my own share of mistakes in a rush to get a song out. Still, it's
worth it to take the time to clean up after yourself and tie a little bow
on the package.
What do I mean by that? Well, let's start from the important thing--the
actual song data--and work our way down to the miscellanea. Much of this,
unfortunately, will be tracker-specific to the ST3/IT interface, as I'm not
sure what the equivalents for FT2 and MMEdit will be in many cases--but
there should be something for everyone. :>
Space-saving. If you're one of those mad phat trackers who sits down
and tracks something from start to finish in one sitting, not all of this
may apply to you... but if you're like the rest of us, you may skip around
in patterns a lot, coming back to one at one point, jumping over to
another, fiddling with things, writing an intro, etc etc. In all of this
jumble, working or temporary patterns, samples, and experiments can go
forgotten in the final release. This is the most common source of what's
euphemistically referred to as "hidden tracks". As entertaining as these
can be for the curious, they're often embarassing--and patterns take up
space! Whether or not they're used in the order list, patterns *are* saved
and do eat up excess space; a lot more of it, in fact, than you might
think. An early tune of mine had almost 30k in dead patterns!
Therefore... it's a good idea to go through your song with a fine-
toothed comb. Are there any temporary patterns you've forgotten? Samples
you loaded at one point and forgot to delete? This one can be especially
easy to overlook in FT2 or ST3, which don't make the fact that you have a
sample loaded in a given slot jump out at you very well. Clear out unused
patterns (in ST3/IT, hit Alt-L twice in that pattern, then clear block)
and clean up the order list if necessary.
All done with that? Good. :> Now, go through each pattern from top to
bottom--this usually shouldn't take too long unless your song is very
lenthy, and is worth it. Do you use a lot of vibrato, volumeslides, portas,
or other effects at the same value in a row? (ie, in ST3/IT, four or five
D10 effects to slide the volume up)
If you do, and you haven't done this already, you may want to go
through and zero out some of the effect fields. When a given effect has
00 as the parameter, it assumes whatever the last value it was given. This
saves a negligible amount of space, but it's something (and is especially
important for cutting down the size of chip songs, which tend to use a lot
more effects than other songs), and it's a lot easier to type in if you
learn to get into the habit of using this. For example:
24 | G#5 01 .. D10 | | ... .. .. .00 | | ... .. .. D10 | | C-5 02 .. .00 |
25 | ... .. .. D10 | | ... .. .. .00 | | E-5 02 .. G03 | | C-5 03 32 .00 |
26 | ... .. .. D10 | | ... .. .. .00 | | ... .. .. G03 | | C-5 04 51 Q43 |
27 | ... .. .. D20 | | ... .. .. .00 | | ... .. .. GF0 | | C-5 04 51 Q43 |
28 | ... .. .. H81 | | ... .. .. .00 | | ... .. .. D10 | | C-5 02 .. .00 |
29 | ... .. .. H81 | | ... .. .. .00 | | ... .. .. D10 | | C-5 03 32 .00 |
This is kind of wasteful. It could just as easily be redone like this:
24 | G#5 01 .. D10 | | ... .. .. .00 | | ... .. .. D10 | | C-5 02 .. .00 |
25 | ... .. .. D00 | | ... .. .. .00 | | E-5 02 .. G03 | | C-5 03 32 .00 |
26 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. G00 | | C-5 04 51 Q43 |
27 | ... .. .. D20 | | ... .. .. .00 | | ... .. .. GF0 | | C-5 04 51 Q00 |
28 | ... .. .. H81 | | ... .. .. .00 | | ... .. .. D00 | | C-5 02 .. .00 |
29 | ... .. .. H00 | | ... .. .. .00 | | ... .. .. D00 | | C-5 03 32 .00 |
Much better. :> The lead on the left still rises in volume, and the
vibrato continues. The backup instrument in track 3 starts a porta to E-5
(which would probably, as a sidenote, sound horrible :), and because an
earlier D10 in that row was issued, the D00 can be used to do it again.
Finally, in track 4, the retrig on instrument 4 (probably a drum) is
continued as normal.
** be forewarned **
Certain effect commands have shared "memories"--that is, two or more
effects share the same space in memory for which effect parameter they
remember. Common ones are the Fxy and Exy effects, but many of the others
differ from format to format. Be sure to consult your tracker's
documentation to find out which effects share memory!
Okay, once all of that cleanup's done.. now it's time to check for
obvious flaws. Look for things like the problems with looping mentioned in
last week's article. Other things to keep a very close eye on are, for
instance, global volume. I've seen many, MANY modules which slide down the
global volume at the end for a nice fadeout... but which do not reset it at
the beginning of the song.
This is really a big no-no. This means that the song can *not* loop...
after the first play, no sound will come out because the global volume will
still be at 0 or whatever it was left at when the song reached the end and
looped around.
Anyway, now that I've covered the end of the songwriting process,
let's take a look back at the midst of it...
Volume, Frames, and Retrigs
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~
Okay, if you're like the rest of us, one of the first effects you
probably learned was the volumeslide. In the ST3 command set, this is the
Dxy command. If x is 0 and y isn't, the slide is down, and vice versa.
Pretty simple, right?
Well, kind of. It says in the documentation of most programs that the
higher the value, the faster the slide... but beyond that, the explanation
is technical and dense. I skipped over it the first few times I read it.
So most people find a value that "kind of" fits how fast they want the
volume to go down, and issue a long line of those--or they pick an
ascension or descension, like 1-2-3. Example:
24 | G-5 01 .. D10 | | ... .. .. .00 | | ... .. .. .00 | | B-4 01 .. D10 |
25 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. .00 | | ... .. .. D20 |
26 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. .00 | | ... .. .. D30 |
27 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. .00 | | ... .. .. D40 |
How many of you know what the tracker docs mean when they talk about
"frames"? They're talked about everywhere, from speeds to slides to
retrigs, but I've been consistently surprised how many people find it a
difficult concept to grasp. A shame too, because understanding frames is a
vital key to using effects... well, effectively. =)
To put it simply, a frame is a slice of time. An extremely short one,
merely a fraction of a second. The faster the tempo or bpm, the shorter the
duration of a frame. Think of a frame as a tick on a clock. Hold that
thought.
Now, think back to the speed of the song (set with Axx in the ST3
command set). The most common speed is 6, as it is the default. It may seem
odd that the larger the number of the speed, the slower the song... until
you think of it as a delay. A delay in frames.
To wit, whatever you set the speed of the song at, that is how many
frames elapse for each row. So in the above example, 24 frames would pass
from the beginning of row 24 to the end of row 27. Four rows, six frames
per row at speed 6, 24 frames. Are you still with me? That means that at
speed 8 there would be 8 frames for each row, and yes, at speed 1 (if you
actually need this kind of precision) there would only be one frame for
each row.
Now, that probably sounds obscenely technical. You're probably
wondering, "great, but what the smeg does that have to do with tracking?"
Read on, my friends, if you haven't already guessed.
Let's take a look at the basic volumeslide, Dxy. In the documentation,
it says that the slide reduces the volume by a number equal to the speed
minus one, to cut through the technical drek. So if you're playing at speed
6, an effect of D01 would slide the volume gradually down by 5 over the
course of that row. Likewise, a D02 would slide by 10, and so on. a D03 at
speed 4 would slide down by 9.
You can use this to eliminate the trial and error from your tracking.
For instance, let's say you've got a nice string sample doing a chord pad
in the background. You want the strings to fade in and out just a tad
between changes. Assuming the default volume that you wish the strings to be
at is 59, and that this is at speed 6...
29 | ... .. .. D02 | | ... .. .. .00 | | ... .. .. D02 | | ... .. .. D02 |
30 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. D00 | | ... .. .. D00 |
31 | ... .. .. D01 | | ... .. .. .00 | | ... .. .. D01 | | ... .. .. D01 |
32 | F-3 02 34 G30 | | ... .. .. .00 | | G#4 02 34 G30 | | A#4 02 34 G30 |
33 | ... .. .. D01 | | ... .. .. .00 | | ... .. .. D01 | | ... .. .. D01 |
34 | ... .. .. D02 | | ... .. .. .00 | | ... .. .. D02 | | ... .. .. D02 |
35 | ... .. .. D00 | | ... .. .. .00 | | ... .. .. D00 | | ... .. .. D00 |
In this, you have the string sample being forced to begin at volume 34.
We then issue a D01 to start a slow slide, which slides it up to 39. Then
we have two rows of D02 effects, which each slide it up by 10, giving an
end volume of 59. Assuming that the chord prior to the example above began
the same way, this slide would be reversed just before this one came in.
Simple enough, you think. But what if you want to combine volume slides
with normal settings in the volume column? Let's say you're doing a dropoff
trick from a prior tracking tips article, which entails going to a high
note and doing a fast porta down while dropping the volume. Let's say that
we need to toss some effects in there, so, at speed 5:
48 | C#6 02 33 UC3 | - Begin the note at volume 37 with a slight vibrato
49 | ... .. .. K20 | - Slide the volume up to 41 while maintaining vibrato
50 | ... .. 44 H82 | - Set the volulme up a little more, increase vibrato
51 | ... .. .. K01 | - maintain vibrato, slide volume down to 40
52 | ... .. 32 H71 | - lessen vibrato, continue slide in volume column
53 | ... .. 20 E0E | - simulate a slide of D03 while doing porta down
54 | ... .. 12 E00 | - decrease slide to D02, continue porta, issue noteoff
55 | ... .. 04 E00 | - continue D02 slide and porta down
55 | ^^^ .. .. .00 | - issue notecut to kill volume and note completely
Now, let's take a look at another common effect which utilizes
frames--the retrig.
Used properly, the retrig can be one of the most powerful effects that
exist. Used poorly, it can give a sense of overkill, or at worst, ruin a
song. The way retrig works is commonly misunderstood, so let's bring it
back to frames again and look at the command.
Retrig: Qxy
In this, the 'y' is the parameter we want to worry about first. It is
directly related to what speed you're at. What retrig does is wait for 'y'
frames into the row it's issued on, and then restarts the note. This is
great for drum tracks! So assuming we were at speed 6, a retrig of Q03
would retrig the note (say, a snare hit) once right in the middle of the
row... because 3 is halfway through the six frames of a row at that speed.
Simple math, eh?
It doesn't stop there, though. You could also issue it as Q02... and at
speed six, you would actually get three snare hits in the same row. Or you
could issue it as Q04, and you would get the first hit on frame 1 as normal
and a second hit on frame 4--which would sound somewhat odd, but if used
well, could be cool. :>
Note that because of the way retrigs work, I recommend *avoiding*
speeds with odd numbers, simply because it is impossible to properly retrig
or note delay halfway through the row. Speed 3 isn't that bad, because it's
so fast you almost don't need to retrig... but speeds 5, 7, 9, etc, are good
ones to avoid if possible. If you need to get those speeds, play around
with the tempo (Txx) effect to give it the feel you need in an even number
like 4, 6, or 8.
Pretty spiffy, eh? But wait, it gets better. :> Since a triple retrig
on, say, a ride cymbal at normal volume, sounds fairly blah, we can add a
little bit of spice to it with the 'x' parameter of retrig, which is volume
control. The following is reproduced and slightly altered from the Impulse
Tracker documentation:
________________________________________________________________________
| Value : Vol change each retrig | Value : Vol change each retrig |
| 0 : No change | 8 : No change |
| 1 : -1 | 9 : +1 |
| 2 : -2 | A : +2 |
| 3 : -4 | B : +4 |
| 4 : -8 | C : +8 |
| 5 : -16 | D : +16 |
| 6 : *2/3 | E : *3/2 |
| 7 : *1/2 | F : *2 |
| 8 : No change | |
`------------------------------------------------------------------------'
You may want to print this out. This may seem rather dense at first,
but it will quickly become second nature. Let's say you have the
abovementioned ride cymbal, which has a default volume of 32. Now let's say
you wanted a series of hits on it which did a high-low-high volume trick.
Using retrig, and assuming you wanted the second hit to be about volume 24,
it would look like this:
01 | E-7 05 32 Q43 | - first hit at 32 retrigged halfway through down to 24
02 | E-7 05 28 .00 | - third hit at 28 left alone
Or for an even better example, let's say you've going a really 'reet
marching snare sample that's crisp and clean. You want to do a snare roll
with it. Again, at speed 6, volume 50:
01 | C-5 04 50 Q53 | - first hit at 50 retrigged halfway through down to 34
02 | C-5 04 42 Q43 | - first hit at 42 retrigged halfway through down to 34
This gives a rolling feel to the snare. Experiment with these values
and use what works best for you. Finally, there's a trick I like to do with
tom drums, which I call the "thwump". This assumes the default volume for
the tom drum is at 44:
31 | A-6 06 04 QC2 | - Start at almost no volume, and retrig up by 8 each
32 | A-6 06 .. .00 | - The final hit at volume 44
It's hard to describe. Try it in a tracker and see.
Closing - For Now
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^~~~^~~~^~~~^~~^~~^~~^~^~^~
In the solemn interests of keeping the size of TraxWeekly reasonable,
I'm going to be spreading this extremely spammy editorial over a few weeks.
If people like what I have to say, this may turn into a semi-regular
feature for the zine... so if you have comments, feel more than free to
email me at the addys listed below, or /msg catspaw on #trax. I'd love to
hear any subjects you'd like to see covered, questions you'd like to see
answered, and especially any tips and suggestions of your own you'd like
to impart. Until then, this is Catsy, signi%#&ghkegg%#^2 . 6 *
*** catspaw has been kicked off channel #trax by everyone (damn flooder)
Catspaw / Rat Rat City (206) 246-6647
catspaw@eskimo.com catspaw@masterpiece.com
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--[2. Tracking hints]----------------------------------------------[Vivid]--
In this article, I'll be only discussing the technical side of tracking
and not the musical use or abuse of the described effects :)
Some will improve your songs, others won't.
(All commands used for explanation are Protracker commands)
## Flange/Chorus ##
You need at least 2 channels to get it working. The Sample played on
the 2nd channel has to be a little bit delayed, which can be
achieved with either the sample offset(9XX) or the note delay (EDX).
Also you can try out a fine pitch slide (E1X or E2X) to have
more control on the effect or "flanged sound" you want to get.
This works pretty fine on brass leads which should sound more full
and clear (also try it out with crashes).
NOTE: I'm not sure if it works on all soundcards.
## Timestretching ##
Many people who love listening to Jungle music know this effect.
It's when a vocal sample sounds like he would be slowed down forever.
Normally, timestretching is used when a drumloop or vocals have
to be fit to a rhythm or a certain speed. In a tracker, it's only good
for creating wierd sounds :).
First thing to do is a speed up of your pattern (at least <f05), then
the sample has to be played over and over with lots of offset commands.
Try to make the sample you use a bit smaller than 128kb so that
the 9XX command can be used at a full value range (ie from 00 to FF).
Example:
|C-4.01 p8.901|...... ...F04|
|C-4.01 p8.902|...... ......|
|C-4.01 p8.903|C-4.01 16.901|
|C-4.01 p8.904|C-4.01 16.902|
.... ....
|C-4.01 p8.9FF|C-4.01 16.9FC|
Try it out with the same sample a bit transposed on a different channel,
and don't forget to use a smooth echo.
## Reverb ##
This is more a general hint of how to make your samples sound like they
were played in a cathedral. Cool Edit is the only program I would suggest
you to use, because Soundforge/Wave/etc. are not that good at it.
(get the win95 version if you're complaining about the calculation time).
Try to set the Perception to 0 to have no other feedbacks, then make
the lenght around 2048/whatever, and set the attack time to 5ms.
The value of the High Frequency Absorption time depends on your own choice,
if you want to have a dark reverb decrease it, if you want it more bright,
leave the 2000ms set.
Back in the tracker, do the echoes with different pan positions so that it
will sound a bit more "realistic".
## Filtering Samples ##
Majic Fred has written a very good article about this in Imphobia #11.
(You should better read it, if you haven't done already)
It's one of the most important things to do before you go to a compo or
whatever, because every sound equipment is different, and therfore,
why should a basedrum have high frequencies <g> ?!
Nearly all good sample programs are suitable for doing it,
but you should convert the samples to 16bit and at least to
22khz for having best results.
If you got comments or new hints, start writing :)
yours, vivid [vivid@kosmic.org]
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/-[Group Columns]-----------------------------------------------------------
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--[3. Explizit]-------------------------------------------------------------
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:::::\__________/::|______/____|:::\_______/_____/________/_____/___:::::::
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::[sYNOPTiC]:::
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Explizit TraxWeekly column issue #20 - May 23, 1996
Hi there!
Lalalalaaaaalalalalaaaaaaalalalaaaalalalalaaaaaalaaaaaaa
... spread your love all over the world ... boy two unlimited SUCKS !!!!!!
I know I'm not supposed to say this, and offcourse, two unlimited DOES
suck, but their song sounds nice! They should have made it a bit more
underground (and lose the bitch singin') and release it on a sublabel ..
Because the mellow-dee does sound nice ...
Nah .. who carez about 2unl ....
Not too many of you know Sturm i guess. Sturm is a young composer i met
on my board a couple of months ago. Sturm makes all kind of music but i
believe he is in some sort of acid phase (!) right now (BOY i wonder why ;)
You should check out some of his modules, they really kick butt (well
some of 'em =). Visit his homepage on http://huizen.dds.nl/~sturm for
a complete list of all his releases. You can also find him on
news:alt.binaries.sounds.mod (or something like that) where you can
request some of his modules. His mailto:sturm@dds.nl
Give this guy a chance, he really rules! ;)
(I get payed to say that btw!)
KoM'AH will soon release the first 100% Jungle track for explizit. He
made some Jungle tracks before, but they weren't released for Explizit.
'Jungly Vibez 4' is expected to come out when this issue of TraxWeekly
is out (around may 20th).
If you're into KoM'AH's jungle style try to find KMH-JNG1.ZIP somewhere
(like on my board) which is as good, if not better than 'JNG4' ..
A big shout to all USA sysops subscribed to TraxWeekly. We need a LOT
more USA bulletin boards to spread our modules through! If you are
interested in becoming HQ or distro for your state, please contact me.
I can also subscribe you to our list so you'll receive all our future
modules by e-mail. We need sites in ALL usa states ... apply now!
I'm off. C u later...
Ch:ilm . explizit
mailto:explizit@dds.nl
Explizit internet Hq: http://huizen.dds.nl/~explizit
USA Ftp: http://www.rpi.edu/~tillbm/site/explizit
Euro Ftp: ftp://sdc.wtm.tudelft.nl/pub/music/groups/EXPLIZIT/
Italy Ftp: ftp://shadow.pegasus.it/music/groups/explizit/
Now online: The Explizit HomeSpace3
http://huizen.dds.nl/~explizit
----------------------------------------------------------------------------
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