![]() It’s a relative pitch value and it means: two octaves up. Triangle waveform value (11), is followed by the value 18. Waveforms 43 and 41 just play the notes on the track unchanged. The sound is syncrhonized with the sound being played on channel 1.That adds a “scratchy” feeling at the beginning of instrument 4 notes. If you look at the wavetable of the instrument, you can see that I have used different waveforms (43, 41 and 11). On track 3, a melody is played with instrument 04 (pad). Try to play track 02 alone to ear the echo effect better. A slow attack combined with a low decay level causes a note to be played at a lower volume. The command “5B6” (actually, 5 is the command, B6 are parameters) forces Attack to B and Decay to 6. But, you can use ADSR settings to do that. On the SID, you can’t set the volume for each channel, you only have a common volume level for all channels. Of course, the effect works only if the “ghost note” volume level is set properly. If you play a note at full volume, then you suddenly play that note at a lower volume, you may get an echo feeling. It is used to obtain a very simple echo effect. Please note the command “5B6” used on some notes on track 02. The third channel is used for a repetitive melody. The result is that drums are much weaker than the original song, but this is the price I had to pay to add more things.Īt the beginning, there are two bass lines playing together. To do this, I had to shrink sounds a bit. The experiment I wanted to try was to force at a certain point bass, hit hat and drums all in the same channel, in order to have arps and the main melody being played together. The original song never plays arps and the main melody at the same time instead. This is one of the tricks used in SID music to cope with the three channel limit. But, after being listening to that melody several times on its integral form, you hardly notice that some notes are actually missing. The accompaniment melody from the beginning starts to miss some notes when drums are introduced. You may realize it if you listen very carefully. The snares are fitted with the accompaniment melody by cutting some notes of it. Snares are on another channel, along with an accompaniment melody. ![]() The original musician uses mixed instruments in order to have bass and hit hat on the same channel. I added a melody from a level music of the game Last Ninja 2. I didn’t manage to get bass and drums as good as Matt Gray did of course, but I added something new that you may like. Furthermore, I intentionally tuned up the song a bit. Arps are slightly different from the original in rhythm. I have just tried to reproduce the tune the best that I could. ![]() I am going to do this and I will explain the procedure in another article.Īs you will ear, I haven’t done anything much different from the original song. It is possible to fine tune the song on a real Commodore 64. ![]() Since SID emulation is not perfect, it may sound slightly different on the real machine. You should also note that I still have to try this music on the real Commodore 64. So please set Goattracker properly to listen to it. Please note that the song is 2x and an 8580 SID is required. Take it as an humble example for beginners. sng Goattracker file as I think it may be of interest to those learning Goattracker. I have now resumed working on that tune and the cover is now finished. One year ago I started to do a cover of that song with Goattracker, but I stopped to work on it a few days later. I never played the game Deliverance but I did listen the intro tune from the HVSC and felt in love with it. Driller music literally astonished me when I was a child, and it still does. I do also appreciate the songs from Last Ninja 2 and the epic tune from the Freescape game Driller. ![]() Strong drums, catchy bass lines, combined with a nice use of arps and good leads. It’s a difficult game with a very nice intro music by Matt Gray. Deliverance is a sequel to the game Stormlord and was released in 1990. ![]()
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