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FamiTracker
I know I'm not personally a fan of dual-channeling instruments (it does consume another channel, after all), but yes the echoing effect is pretty cool in its own right and I don't think there's any way to fake that.
The decision to use a custom F03/F02 tempo seems an odd choice considering there's literally only about four places in the song that have notes every row (all on the DPCM too), but that's another stylistic difference -- I've seen songs where the user generally sticks with one tempo/speed setting excepting one or two measures with tighter notes and it feels awkward to see the play speed (in rows-per-second) suddenly switch on you even though the resulting song tempo is the same.
So it still sounds awesome.
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[quote=GEVEN]well, what is the source bpm?[/quote]
The original song is approximately 175 BPM. Bumping it up to 180 provides a consistent 5 cycles per row (at 60Hz) and the change in tempo is virtually unnoticeable.
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[quote=Cheez]so many misplaced notes and wrong chords.[/quote]
Care to point them out?
There are 2 things to note: First I didn't take the time to listen to the original tune and hence just got a midi. Second, a few parts of the melody are not in the original tune.
I didn't hear anything that sounds really 'off' to me, but after listening to the original real closely I did notice that the whistle/flute doesn't just repeat pattern 02 and 03 (there's a subtle difference in the transition and timing the second time around).
[quote=w7n_mariohacker]First I didn't take the time to listen to the original tune and hence just got a midi. Second, a few parts of the melody are not in the original tune.[/quote]
Well, if you're not transcribing from the original, you're likely to transcribe any mistakes made by the cover artist. (Whether they're noticeable enough to be important mistakes is another matter.)
[quote=w7n_mariohacker][quote=Cheez]so many misplaced notes and wrong chords.[/quote]
Care to point them out?[/quote]
Here's a few quick ones I'm starting to notice:
- Patterns 08 thru 0A, row 00 each: Triangle has a G# when it should probably be an A. It disrupts the ablerti when you listen closely to it.
- Why does the volume envelope on Whistle (instrument 0A and 0B) cap out at 4? The more I listen to it, the more I want to hear the whistle get a stronger presence; it does duet with the harmonica lead after all. And generally speaking, volume envelopes should cap out at 15 anyway so you can get the full volume range out of each instrument (when you need it quieter than usual, that's what channel volume is for).
The bass track in general does differ from the original a bit but for the most part it sounds fine as-is so I would not call it an error
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[quote=w7n_mariohacker][quote=Cheez]so many misplaced notes and wrong chords.[/quote]
Care to point them out?
There are 2 things to note: First I didn't take the time to listen to the original tune and hence just got a midi. Second, a few parts of the melody are not in the original tune.[/quote]Well i'm not going to trash you for it if you got some random midi, but there's quite a bit that's off. Maybe if i find some time later I'll poke around with it but that's not looking like it's going to happen at all this month.
[quote=w7n_mariohacker]Care to point them out?
There are 2 things to note: First I didn't take the time to listen to the original tune and hence just got a midi. Second, a few parts of the melody are not in the original tune.[/quote]
Things generally go south when I mess with other people's .ftms too much, but maybe I can help point out a couple of things related to the harmony. Generally speaking the harmony in the original is doing a LOT of really snazzy stuff, mostly in the banjo riffs; the chords basically should change every cut-time "measure" (i.e. every 32 rows, or a quarter-frame for you). Your cover tends to stay on a lot of the safer chords and misses some of the more subtle transition harmonies.
For example, dividing Frame 01 into four equal measures: There should be a change in the second one (rows x20-3F) to D Major w/7th, but your cover stays on D Major; also, the fourth section (rows x60-7F) is not an E Major inversion but a dimished tonality (G#-B-D-F sound instead of G#-B-E as you have it). Frame 02 is similar, a change every 32 rows where your cover stays in D Major until the last measure; there's a weird little progression of stacked triads before it resolves to e minor w/7th and then at last the dominant A Major (as you have it).
Similar little nuances in the next two frames and beyond, though Frame 03 brings to light another thing: Can't speak for the midi you used, but the original makes use of strummed chords to dictate the harmony while at the same time there's a rapid undercurrent of running banjo notes that do a lot of alternating in half-steps (adds tension to the music, pretty cool), and there aren't nearly enough channels to capture both of these. The potential of a single channel (using the rhythmic gist of the running banjo while highlighting the chording banjo with the notes themselves) is nice, but I like Frame 03 even better (sacrifice an echo channel for extra robustness in the complex banjo stuff).
I feel the cover could be even stronger if that were done throughout instead of just in that one frame; at present it's quite a difficult situation having to constantly highlight what the chords are doing while simultaneously trying not to lose the running line.
Attached a short loop of the first 4 frames as example; have a listen if interested. Changed only MMC5 Pulse 1 to reflect the harmonies (and both Pulse 1 channels in Frame 03 to reflect the chording rhythm), fixed triangle bass. Muted percussion because it made the tonal stuff easier to hear for me. :-)
