'Glad you think so.~ The 9 effect command is really darn cool. I can see how it is Protracker's biggest selling point in comparison to other trackers of that era. Nowadays, every other tracker has that command, it appears that Protracker was the first to do it.
Still figuring out how to keep things in tune when each sample has slightly different tuning. ;w; Will require practice. I also reviewed each of Karsten Obarski MODs and assembled a file with 35 tricks to compose a good song, based on the techniques he uses. The file is in Portuguese and contains those tips, a summary on effect commands and a keyboard shortcut list. The tricks can well be used in regular digital audio workstations. I could translate it into English and make it a journal on Inkbunny.'
'Glad you think so.~ The 9 effect command is really darn cool. I can see how it is Protracker's bigg
The tuning of samples is just a thing you have to do in Audacity. I'm sure there's other ways to do it but offhand that's how I'd do it. The basic ideas in Obarski's list would be great. Anything's better than what little I know right now!
The tuning of samples is just a thing you have to do in Audacity. I'm sure there's other ways to do
Set the song's mood up at the beginning. Make the beat simple. Play different sections of the melody with different instruments. Use both octaves of the keyboard. Make your bass do octave jumps. You have four channels: one for melody, one for accompaniment, one for bass, one for percussion. Turn chords into counterpoints, then turn counterpoints into chords. If a drum sample includes reverb, let the reverb show itself by leaving room between drum notes. If you are going to use arpeggios, use the values 33, 37, 38, 44, 47, 49, 55, 58 or 59. Change the song's mood between patterns. Remember the minor keys. Make echo. Feel no shame in repeating patterns. Share the bassline between different bass instruments. Do key changes along the song. Don't feel like you must make a complex song. Put several melodies upon the same bassline, one at a time. Alternate between instruments in a same channel, with each instrument exercising a different function (the bass and the drums can well be in the same channel, like it often happened in the Commodore 64). Use chords when you can. Do not feel like you must make a long song. When repeating a beat in a different channel in the same pattern, do not make an exact copy. Consider starting the song with the bass and the percussion. Consider starting the song with the bass and accompaniment. Suspend the melody as a form of transition. Reuse finished songs and make different songs out of existing ones. Control the volume of the instruments. Repeat notes. Make instruments "talk to each other" in the melody channel, giving the impression of more than four voices. Use note repetition ("chugging") during transitions. Reuse old ideas in new songs. Place patterns in the most convenient orders, not necessarily in the most logical. Do the whole song (except the ending), repeat the whole song (except the introduction), do the ending. If a song has only melody and accompaniment, sustain it on chords with several voices. Do not use portamento to note between close notes (use slide up or slide down instead). Use similar, but not identical, basslines. Use ornamento.
Set the song's mood up at the beginning. Make the beat simple. Play different sections of the melody
At least two of them need to be highlighted for "today's music": Control the volume (you don't need to use a Hard Limiter, just turn everything else down!) Change keys (yes kids, there can be more than one key in a song!)
At least two of them need to be highlighted for "today's music": Control the volume (you don't need
