Anti-Matter Splatter (VIC-20) - 1983

shark vs the universe

Acquired Stardust
Sade Olutola

Discoholic đŞŠ
Lint Roller? I Barely Know Her
Claire Keane

çĽćĽ / Permanent Vacation
we're not kids anymore.
d e v o n
Jules of Nature
let's talk about Bridgerton tea, my ask is open
PUT YOUR BEARD IN MY MOUTH
Alisa U Zemlji Chuda
wallacepolsom
trying on a metaphor

romaâ

@theartofmadeline
hello vonnie
2025 on Tumblr: Trends That Defined the Year

seen from Mexico
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seen from TĂźrkiye

seen from Malaysia
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seen from United States

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@puke7
Anti-Matter Splatter (VIC-20) - 1983

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Bubble Bobble music playing on a Vic 20 with a test movement of Bub walking across the screen.
Dope
Text scrollers are easy to do with my Vic 20 Bitmap Mode (VBM) command set in Turbo Rascal. Currently in beta and will be released soon.
If you understood enough of BASIC to make a simple program, you will feel comfortable with the Pascal-like language in Turbo Rascal. The VBM functionality is very easy to use. Thereâs help for every command and example code, like the one above, to show how to use them in practice.
this looks dope!
#covert #demo (at Austin Resource Center for the Homeless)
#Casio #sk5 is the best #synth ever! #dog #lion #laser (at Great OutDogs)

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https://soundcloud.com/b_knox/fave-case
It's a #lupinthethird kind of day. #famicom #bluray #miyazaki (at Auditorium Shores)
Beige Wizard rehearsal up in Cave Dingle (at Auditorium Shores)
They finally took me away haha!! (at 6th Street, Austin, TX)
Finally listening to this #bitpuritans album on #nes! #chiptune

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RIP Skip Williams 1944-2017
TFW your coworkers come to your show and sticker bomb a laptop with your swag and then get #megaran to sign it too.
Playing paddles one handed is hard. #drumbrute #commodore #vic20
  Recently, Iâve been witness to (and sometimes a part of) some discussions regarding music production that have left me with a strong sense of disappointment. As creators, I think we can all agree that we wish to do our very best with what we create and how we go about it, and so I think itâs good for us to challenge one another and push each other to be the best we can be. However, I think thereâs a point where these intentions can become misguided and cause more harm than good. I will explain what I mean by that.   The subject of the conversations I mentioned regarded a certain type of music production known as âfakebitâ. Itâs a sort of catch-all term for an emulation of the heavily-compressed audio of consoles such as the NES or the GameBoy â more specifically, an imperfect or flawed emulation. This term is generally used with some level of disdain (âfakebit trashâ), as chiptune âpuristsâ tend to feel quite strongly about the authenticity of any attempts to reproduce the sound of these consoles. From these âpuristsâ, Iâve seen more insults and generally vile behavior than I feel is warranted for such a topic.   Donât misunderstand me, I respect authenticity. As a perfectionist myself, I believe very strongly that if you are going to set out to do something, by all means, do so to the best of your ability â and if one of those goals is to reproduce the sound of a certain console accurately, then you ought to take that task seriously. However, I think thereâs a certain amount of âelitismâ coming from these âchiptune puristsâ that I find to be ultimately unhelpful, and frankly, revolting.   I like to think of myself as a âpractical perfectionistâ. That is to say, I believe thereâs no sense in judging the quality standards of a work beyond that which it was meant to attain. A cardboard box isnât the most sturdy thing in the world, but it wasnât made to sustain a storm, and to expect it to do so would be something just short of madness. A similar idea applies to creative work. Believe it or not, there are some musicians who do not wish to perfectly replicate a consoleâs sound when producing âfakebitâ. Rather, they are simply attempting to evoke a sense similar to that which the original carried.   Recently, I produced a short jingle using the official plugin version of Rolandâs SC-88 sound module (some might stop me right there for not using the hardware!). I decided I didnât want too clean of a sound, so applied a bitcrusher to the track in order to give it a bit of an edge, and to recall images of old Nintendo games. To my surprise, when I showed it to a colleague, it was met with a sort of surprised disgust. He was shocked that I would have manually bitcrushed the audio â not because it resulted in a lo-fi sort of sound, but because the lo-fi sound in question wasnât an accurate reproduction of the way the SNES or GBA compressed their audio. This reaction confused me, as an accurate reproduction of those sounds was never my intent.   There are two questions Iâd like to pose to these âpuristsâ: 1) Is your critique of the sound warranted? And 2) If so, is it helpful? I will go more in-depth to both of these.   Regarding the first question, one must first judge the goal of the creator whose work you are critiquing. If you find that their goal was not to perfectly emulate a certain sound, then your critique of the emulation is a waste of time. It is not applicable to their goals, and will be ignored. If they do, however, have that goal in mind, then the second question is now raised. Is your critique helpful? Simply degrading a personâs work for being inauthentic will do absolutely nothing to help the creator make something that meets your (and their attempted) standards. If you want them to be better, you must explain to them how they can achieve that goal â and do so in a kind manner, as mean-spirited talk will only drive the other person away. It is as illogical and unhelpful to your purpose as it is disgusting human behavior.   I will leave with this comment. Weâre all gamers here, arenât we? I find it absolutely hilarious when a chiptune elitist calls out an emulation for being inaccurate, when the emulation itself is based on what is also often an inaccurate emulation of real musical instruments. A violin was synthesized with rather robotic, inhuman results, and then underwent even more degradation by being compressed within a console, and youâre concerned about the emulation of that being accurate? By your own logic, you should take much more offense to nearly all video game soundtracks ever produced, the vast majority of which use synthesized or sampled instruments, which, no matter how good, will always be imperfect emulations of real, human instruments. And so I say to musicians of all types: Push each other to do your best to reach your goals. None of what I have said here is intended to discourage critique, but keep in mind that intent is of great importance, and must be taken into account when critiquing a work. And above all, be united in your goal to create.
The author is using the word âcompressionâ in a fashion I donât follow. I donât think it would mean audio compression which is a method to maximize volume not featured in vintage audio chips. I donât think it means data compression either as 8bit and 16bit systems didnât have the computing power or memory to handle it. So my assumption is the author is referring to sample reduction or âbit crushingâ when they use the word compression. But I am still further confused when they state a synthesized instrument is compressed in a system. It is true that the Commodore VIC20 does have a nice analog distortion when pushing all 4 channels at max volume, but then again the point of audio compression is not distortion.
The author also uses the word emulation throughout the article when sometimes I think they mean simulation. No one is emulating a violin with synthesis using a retro console audio chip. The behavior and characteristics of the violin are simulated. The chip is incapable of convolution and acoustic modeling. The chip itself is its own instrument with its own abilities and limitations.
âBit crushingâ a Roland SC-88 (really any hardware whether physical or emulated) might present an aesthetic, but it wouldnât surprise me if people are put off by it. I think the average person capable of recognizing this maneuver would question it. Making a recording sound worse on purpose would beg the question âWhy?â and an easy followup assumption might be âthe artist is trying to emulate this or thatâ. Again, calling this effect compression would be considered illiterate in the audio engineering world.
This article has been banging around in my head since I read it days ago.  For many chipsters the word âfakebitâ is a pejorative, but I believe the interpretation of âfakebitâ is more in the eye of the beholder. Thereâs nothing wrong with making fakebit music; many even wear it as a badge of honor putting it in the titles of their songs and/or albums. The term âchiptuneâ itself derives from the 90â˛s when demo groups would produce music disks -- actual floppy disks with limited space of 1.44mb full of tracker modules. These tracker modules are sample based and technically fakebit as well. Itâs just a label. The music is written for vintage hardware or itâs not. It has nothing to do with the quality of content. If someone is trying to degrade your work by using the term then realize they are an idiot not worth discussing it with. If they are simply using the term to explain what they hear and you canât get past it, there are presently online chiptune communities that do not allow the usage of the word.
I had no idea an #animation #cell was so big. I don't know if I've met anyone who gives a shit about #blackstar like I do. Oh to be a trobbit in the sagar tree!!

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Look at the friend I found hiding under the crisper! Maybe this is why all the food in my fridge tastes like shit? #old #rice #mold #moldy
New desk pals. Flaming #megaman and #gpk Tee-Vee Stevie