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Yes, I believe I did...and it's been ages since I last posted. Might as well tell everybody that my "talent" hasn't vanished yet.
Recently, I grew unsatisfied with my cover of Rusty Bucket Bay; part of that was because it sounded unfinished. It was missing SO much since Day 1 and I believe the only reason that wasn't resolved earlier was due to laziness. Today, I fixed it up, including, but not limited to:
- Upgraded DPCM. I won't say how, but if you know the original tune, you'll know what I mean.
- Fixing up note slides. Rather than using new notes, I simply used the Pxx effect now. If I missed some places, let me know (a note and a Pxx in combination has its reasoning).
- Minor note issues. Increased some of the notes by an octave, whether to make it sound more like the original or consistency was up to me.
- Added the 2A03 Pulses you hear in Frames 06-08, as well as 0E-10. Those were necessary.
- Had fun doing this. It's fun to actually put time into something not related to Pseudocoding and family hassle...and Binding of Isaac...
As usual, enjoy.
*I swear if MovieMovies1 shows up for massive editing again...I'll just accept it*
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I can just say that this is really nice and well done... well, as always!
Hey, can I ask you something? Since you always work with 900 BPM modules, do you ever have any problems when determining the tempo of a song you want to cover? I mean, it must be quite hard to get the tempo right when working like this.
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It's true that tempo selection is the true downfall of 900 BPM; where most everybody else that uses Famitracker "normally" can easily select their tempo with a few clicks, finding the tempo on a 900 BPM Module can be difficult. Even if you match the tempo of the song you cover, it might not sound right in the end simply because you can't line up the notes perfectly. You'll be lucky if you get the right tempo--hell, this is actually a touch faster than the original, which bugged me at first, but I got over it relatively quickly.
It's somewhat hard to explain as to why choosing some tempos doesn't work without giving examples as to what happens, but it also has something to do with how the song plays. If, for the most part, notes are long and there aren't any intricate parts, tempo choosing is less of a hassle. There will be moments when each beat is 9 lines, though if you have eighth notes, you have to go 5, then 4, then 5, then 4 (which gets on my case a bit because I can almost distinctively hear the spacing difference...it's what I get for working on this program for years). There's another module I'm working on now--900 BPM as usual--yet I was able to get the tempo almost perfectly. On the other hand, I attempted another and couldn't gather the strength to go on because of the inconsistencies caused by the tempo selection.
To answer your question: It's problematic when determining the tempo of a song, whether it is for technical limitations or personal bugs. On the other hand, when one does get a good tempo, stick with it.
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It really is much easier to find tempos when working with the tracker the conventional way (spamming Fxx effects, for instance). Of course it isn't always perfect either but the rows can still look aligned (and it's easier to work like that, at least for me).
Every time I've tried using 900 BPM I've given up because of never finding the correct tempo. Yeah, it's really bugging when you can't get it right, and even worse, when the whole module loses its structure due to the weird tempo adjustments that are required.
I think it's a lot more important to get a consistent tempo, rather than an accurate one. If the song goes a tad faster or slower, I don't mind much because they usually have those differences for a good reason (consistency). It's not too satisfying when a song goes at just the right tempo but sounds skippy due to how it was constructed.
I don't mind 900 BPM modules, to me it's a different way to work. It's harder to work that way, but if you're comfortable with it then just go on!
Thanks for replying! :D
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Oh man, this is awesome. With the tempo thing, you'd think that it would be reasonably natural to do because you can approach it by tuning the length of your smallest time subdivision (eighth notes, sixteenth notes, or whatever it may be), i.e. adjusting the number of rows in each frame. Like, that way it's never uneven... well, it might not be precise enough.
Never mind; I don't even know how you did this one.
As a small nitpick, the tail end of the xylophone riff in frame 02 (VRC6 pulses, pattern 00) is a little different from the original, as is the tail end of the similar contrary motion figure in the 2A03 pulses when they appear (frame 06, pattern x10). Not sure if accidental or creative license; sounds fine so it doesn't matter too much.