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Cheesecutter or goattracker4/30/2023 ![]() When I got in touch with THCM from Oxyron it was instantly clear we'd make a great team. In other words, we're nothing but a bunch of friends annoying you in their spare time, as our tagline goes. The unwritten core principles of MSL are experimentation, diversity and freedom. Would I join my all-time favourite music group? So I answered "You kidding? Hell yeah!" No brainer really. However one day Jammer asked me to join MultiStyle Labs. When I got into the scene last year, the plan was to stay out of groups and remain freelance. ![]() What can you tell our readers about your groups MultiStyle Labs, Oxyron and Remi圆4? :)īMan poured his dirty watercolour water over my freshly cleaned paintbox. It can be traced back to an incident in art class 1986, and a guy who is now my best friend. The nickname went through several iterations. Where does your nick LMan come from? What does it mean? When I finally made the step in January 2015, I had collected lots of ideas I wanted to try. Ever since then I hoped to return to SID music one day, keeping a loose watch on the core scene all the time. When the Internet finally arrived at home, searching for C64 stuff was among the first things to do, so I got in touch with the remixing scene. So in 1992 I moved on to Protracker, then Cakewalk, Cubase, Reason. It was on a diskmag and I used it to make a couple of SIDs just for fun, you know those everyone does (Axel F anyone?). So around 1990 I got my hands on the little known but cool tracker called AMP. I guess the story is the same for many sceners, I was always more fascinated with great music, cool intros and gfx than my friends, who found this odd hehe. However living that isolated I didn't have contact with the scene at all, you took what you got from the schoolyard. My brother got his c64 when I was 10, had never seen something like it before and was instantly hooked. I am around 40 and live in the Cologne area. Also, how did you became interested in the C64 and started to make music on it? Moreover, typing them in each time will help refresh your memory about how a sound is actually made and invite you more to tweak values to suit your need.Please introduce yourself to our readers. ![]() Of course you can always save your sounds and import them into new songs but then you're likely to forget how you created a particular sound and you may fall into the trap of using them like presets. If you'd like it might even help to write down the entire contents of your tables. Perhaps you have a fast pwm at pulsetable 03 and a slow one at 2A, etc. Of course, you'll do the same for each table. For example, if you create a wavetable for a bass drum you can make a note somewhere that it starts at 0E, and that there's a that wavetable at 1F is a pulse instrument, etc. To make it easy on yourself, you might want to keep track of the various things you've put into your tables and their beginning address. If you think of these tables as little programs that you write to alter values of the SID register you wouldn't be wrong. Each of the four tables will just be a long string of operators and arguments - commands and values for those commands to use - and your instruments will contain parameters to jump to these routines that you create. There are four types of table in goattracker, most function sort of like an assembly routine - the speed table is a little different - but each is designed for a different purpose, to keep the interface a little cleaner. Goattracker is a pretty basic wrapper for the playback routine and therefore the way that tables work might be a bit awkward for a musician to get used to. Just like most PSG chips the key to getting any interesting sounds is with the use of tables.
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