Chiptune

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For the altering of car electronics, see chip tuning.

Chiptune
Complextro
  • electroclash
  • future bass
  • glitch
  • Nintendocore
  • skweee
    • Regional scenes
    Local scenes
    • New York City[7]
    • Los Angeles[8]
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    Demoscene
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    Chiptune is a style of electronic music made using the programmable sound generator (PSG) sound chips or synthesizers in vintage arcade machines, computers and video game consoles.[9] The term is commonly used to refer to

    tracker format music using extremely basic and small samples that an old computer or console could produce (this is the original meaning of the term), as well as music that combines PSG sounds with modern musical styles.[10][11][12]
    It has been described as "an interpretation of many genres" since any existing song can be arranged in a chiptune style defined more by choice of instrument and timbre than specific style elements.[13]

    Technology

    A

    MOS Technology SID chip which offered 3 channels, each switchable between pulse, saw-tooth, triangle, and noise. Unlike the Game Boy, the pulse channels on the Commodore 64 allowed full control over wave duty cycles. The SID was a very technically advanced chip, offering many other features including ring modulation and adjustable resonance filters.[14]

    Due to the limited number of voices in early sound chips, one of the main challenges is to produce rich

    polyphonic music with them. The usual method to emulate it is via quick arpeggios, which is one of the most relevant features of chiptune music (along with its electronic timbres).[15]

    Some older systems featured a simple

    CPU
    by direct control of the beeper.

    History

    1951–1979: Precursors

    External videos
    video icon Science International: What Will They Think Of Next?, YouTube video

    The earliest precursors to chip music can be found in the early history of computer music. In 1951, the computers CSIRAC and Ferranti Mark 1 were used to perform real-time synthesized digital music in public.[16]

    One of the earliest commercial computer music albums came from the First Philadelphia Computer Music Festival, held August 25, 1978, as part of the Personal Computing '78 show. The First Philadelphia Computer Music Festival recordings were published by Creative Computing in 1979.

    Global TV program Science International (1976–1979) credited a PDP-11/10 for the music.[18]

    Mid-1970s–1980s: Video game origins

    Chiptune music began to appear with the

    a loop, though it was dynamic and interacted with the player, increasing pace as the enemies descended on the player.[19]
    The first video game to feature continuous melodic background music was Rally-X, an arcade game released by Namco in 1980, featuring a simple tune that repeats continuously during gameplay.[20] It was also one of the earliest games to use a digital-to-analog converter to produce sampled sounds.[21] That same year, the first video game to feature speech synthesis was also released, Sunsoft's shoot 'em up arcade game Stratovox.[20]

    In the late 1970s, the pioneering

    synthpop/electronic dance music group Yellow Magic Orchestra (YMO) were using computers to produce synthesized music.[22]
    Some of their early music, including their 1978 self-titled
    16-bit eras.[24][25] Sega's 1982 arcade game Super Locomotive for example featured a chiptune cover version of YMO's "Rydeen" (1979);[26] several later computer games also covered the song, such as Trooper Truck (1983) by Rabbit Software as well as Daley Thompson's Decathlon (1984) and Stryker's Run (1986) arranged by Martin Galway
    .

    By 1983, Konami's arcade game Gyruss utilized five sound chips along with a digital-to-analog converter, which were partly used to create an electronic rendition of J. S. Bach's Toccata and Fugue in D minor.[27] In 1984, former YMO member Haruomi Hosono released an album produced entirely from Namco arcade game samples entitled Video Game Music, an early example of a chiptune record[28] and the first video game music album.[29] The record featured the work of Namco's chiptune composers: Toshio Kai (

    Pole Position in 1982), and Yuriko Keino (Dig Dug and Xevious in 1982).[30]

    Early 1980s–1994: FM synthesis

    A major advance for chip music was the introduction of frequency modulation synthesis (FM synthesis), first commercially released by Yamaha for their digital synthesizers and FM sound chips, which began appearing in arcade machines from the early 1980s.[31][32] Arcade game composers utilizing FM synthesis at the time included Konami's

    Yie-Ar Kung Fu, Teenage Mutant Ninja Turtles) and Sega's Hiroshi Kawaguchi (Space Harrier, Hang-On, Out Run
    ).

    By the early 1980s, significant improvements to

    PC-9801 in the early 1980s, and by the mid-1980s, the PC-8801 and FM-7 had built-in FM sound. This allowed computer game music to have greater complexity than the simplistic beeps from internal speakers. These FM synth boards produced a "warm and pleasant sound" that musicians such as Yuzo Koshiro and Takeshi Abo utilized to produce music that is still highly regarded within the chiptune community.[33]
    In the early 1980s, Japanese
    audio programming languages such as Music Macro Language (MML) and MIDI interfaces, which were most often used to produce video game music.[34]

    Fujitsu also released the FM Sound Editor software for the FM-7 in 1985, providing users with a user-friendly interface to create and edit synthesized music.[35]

    In 1987, FM synthesis became available for Western computers when Canadian company

    Creative Labs incorporated the AdLib card's sound chip into its Sound Blaster card in 1989.[37] Both cards were widely supported by MS-DOS
    game developers in the late 1980s and early 1990s.

    The widespread adoption of FM synthesis by consoles would later be one of the major advances of the

    16-bit era, by which time 16-bit arcade machines were using multiple FM synthesis chips.[31] A major chiptune composer during this period was Yuzo Koshiro.[38]
    Despite later advances in audio technology, he would continue to use older PC-8801 hardware to produce chiptune soundtracks for series such as
    Streets of Rage (1991–1994) and Etrian Odyssey (2007–present).[33] His soundtrack to The Revenge of Shinobi (1989) featured house[39][40]
    and
    progressive techno compositions[38] that fused electronic dance music with traditional Japanese music.[41]
    The soundtrack for Streets of Rage 2 (1992) is considered "revolutionary" and "ahead of its time" for its "blend of swaggering house synths, dirty electro-funk and trancey electronic textures that would feel as comfortable in a nightclub as a video game."[42]
    For the soundtrack to Streets of Rage 3 (1994), Koshiro created a new composition method called the "Automated Composing System" to produce "fast-beat techno like jungle",[43] resulting in innovative and experimental sounds generated automatically.[44] Koshiro also composed chiptune soundtracks for series such as
    Ys, Shinobi, and ActRaiser. Another important FM synth composer was the late Ryu Umemoto, who composed chiptune soundtracks for various visual novel and shoot 'em up games.[45]

    1986–present: SID music culture

    See also:
    MOS Technology SID and Demoscene
    MOS 6581 and 8580 Commodore 64 SID chips

    Later on, several demo groups moved to using their own music instead of ripped game music. In 1986, Jeroen "Red" Kimmel studied Rob Hubbard's player routine and used it for original demo songs[46] before writing a routine of his own in 1987. Hobbyists were also writing their own dedicated music editor software, such as

    Chris Hülsbeck's Soundmonitor which was released as a type-in listing in a 1986 issue of the German C-64 magazine 64'er.[47]

    The practice of SID music composition has continued seamlessly until this day in conjunction with the

    The High Voltage SID Collection, a comprehensive archive of SID music, contains over 55,000 pieces of SID music.[48]

    Mainstream popularity

    The heyday of chiptune music was the 1980s.[49] The earliest commercial chiptune records produced entirely from sampling arcade game sounds have existed since the mid-1980s, an early example being Haruomi Hosono's Video Game Music in 1984.[28] Though entirely chiptune records were uncommon at the time, many mainstream musicians in the pop rock,[50] hip hop[51] and electronic music[52] genres were sampling arcade game sounds and

    bleep music".[23] Space Invaders inspired Player One's "Space Invaders" (1979), which in turn provided the bassline for Jesse Saunders' "On and On" (1984),[53][54]
    the first
    bleep techno scene in the early 1990s.[56]

    After the 1980s, however, chiptune music began declining in popularity.[49] Since then, up until the 2000s, chip music was rarely performed live and the songs were nearly exclusively spread as executable programs and other computer file formats. Some of the earliest examples of record label releases of pure chip music can be found in the late 1990s.[57] Chiptune music began gaining popularity again towards the end of the 1990s. The first electroclash record, I-F's "Space Invaders Are Smoking Grass" (1997), has been described as "burbling electro in a vocodered homage to Atari-era hi-jinks".[58]

    By the mid-2000s, 8-bit chip music began making a comeback in mainstream pop music, when it was used by acts such as

    PCM styling of early game music composers such as Hiroshi Kawaguchi also began gaining popularity.[59]
    In 2003, the J-pop girl group Perfume,[60][61] along with producer
    Saori@destiny, and Sweet Vacation.[62]
    Electro house producer
    A Little Oblique, were finished in 2006.[63]

    In 2007, the entirely chiptune album 8-Bit Operators: The Music of Kraftwerk was released on major mainstream label Astralwerks/EMI Records, which included several prominent and noted chipmusicians, including Nanoloop[64] creator Oliver Wittchow, and LittleSoundDJ[65] creator Johan Kotlinski who appears as the artist Role Model. Kraftwerk founding member Ralf Hütter personally selected the tracks.[66] A vinyl 12-inch single version was released on February 24, 2007 as a precursor to the full-length CD, and reached as high as number 17[67] on the Billboard magazine Hot Dance Singles Sales Chart. In March 2007, the CD release reached as high as number 1 on the CMJ RPM (North American college Electronic) charts.[68][69] Edinburgh-born electronic musician

    MuchMusic in 2008[70]
    and the single "Alice Practice" hitting 29th on NME "150 Best Tracks of the Past 15 Years".[71]

    During the late 2000s, a new wave of chiptune culture took place, boosted by the release of software such as LittleSoundDJ for the

    Game Boy. This new culture has much more emphasis on live performances and record releases than the demoscene and tracker culture, of which the new artists are often only distantly aware.[72]
    In recent years, 8-bit chiptune sounds, or "video game beats", have been used by a number of mainstream pop artists. Examples include artists such as Kesha[73] (most notably in "
    best-selling single of 2010[75]
    ), 50 Cent with the hit single "Ayo Technology", Robyn, Snoop Dogg,[74]
    Kieran Hebden,[76]
    as well as in
    East London.[77]
    Some dubstep producers have also been influenced by video game chiptunes, particularly the work of Yuzo Koshiro.[78][79][80] In 2010, a BBC article stated that the "sights and sounds of old-school games" (naming Frogger and Donkey Kong as examples) are "now becoming a part of mainstream music and culture."[49]
    Complextro pioneer Porter Robinson has also cited video game sounds, or chiptunes, as an influence on his style of music along with 1980s analog synth music.[81]

    Tracker chiptunes

    See also: music tracker and module file

    The Commodore Amiga (1985) with its sample-based sound generation distanced the concept of microcomputer music away from plain chip-synthesized sounds. Amiga tracker music software, beginning from Karsten Obarski's Ultimate Soundtracker (1987), inspired great numbers of computer enthusiasts to create computer music. As an offshoot of the burgeoning tracker music culture, a type of tracker music reminiscent of Commodore 64 SID music was born, that utilized simple waveforms instead of digitized samples. This type of music came to be called "chiptunes", referring to the sound of early video game console and home computer sound chips.

    Earliest examples of tracker chiptunes date back to 1989 and are attributed to the

    TDK, Turtle and Duz. Tracker chiptunes are based on very short looped waveforms which are modulated by tracker effects such as arpeggio, vibrato, and portamento. A very common loop length is 128 samples, which at an approximate sample rate of 17 kHz misses a C note by a few cents
    .

    There is at least one commercial game for the Amiga, Nebulus II, that used chiptune style music, although with some conventional sampled instrument sounds as well as speech. The game apparently was initially planned for release for the C64 but was canceled.

    The small amount of sample data made tracker chiptunes far more space-efficient than most other types of tracker music, which made them appealing to size-limited demoscene demos and crack intros. Tracker chiptunes have also been commonly used in other warez scene executables such as keygens.

    Nowadays the term "chiptune" is also used to cover chip music using actual chip-based synthesis, but some sources such as the Amiga Music Preservation project still define a chiptune specifically as a small tracker module.[82] Modern trackers used today include OpenMPT, Famitracker, Furnace and Goattracker.

    Contemporary chiptune music

    Little Sound DJ loaded onto a Game Boy Advance
    Skip Cloud – "The Adventure Lights" (2011)
    Drozerix – "Computer Adventures" (2012)
    These are examples of modern-day chiptune tracks distributed as stand-alone music files without being a part of a video game soundtrack.
    Problems playing these files? See media help.

    The chip

    6522 chip for sound, allows the computer to be played like a piano keyboard, and features many effects. On the DOS platform, Fast Tracker is one of the most famous chiptune makers because of the ability to create hand-drawn samples with the mouse. Chiptune artist Pixelh8 has also designed music software such as Music Tech[83]
    for the Game Boy and the Pro Performer[84] for the Game Boy Advance and Nintendo DS which turn both machines into real time synthesizers.

    There have been a number of television segments featuring chiptunes and chip music artists in the past few years. On April 11, 2005,

    Rondeau: Fanfare" (1735) by Hamhocks Buttermilk Johnson.[87]
    Another chipmusic feature included little-scale, Dot.AY,
    Good Game in 2009.[88]

    The Electronic Frontier Foundation in December 2010 used a faux 8-bit game with an 8-bit sound track by crashfaster to demonstrate its notable legal achievements for that year.[89]

    In March 2012, the Smithsonian American Art Museum's "The Art of Video Games" exhibit opened featuring a chipmusic soundtrack at the entrance by artists 8 Bit Weapon & ComputeHer. 8 Bit Weapon also created a track called "The art of Video Games Anthem" for the exhibit.[90] In September 2015, the first music compilation based on Domo (NHK), Domo Loves Chiptune, was released on iTunes, Amazon, and all major music streaming services.[91][92] The compilation features top artists in the Chiptune genre such Anamanaguchi and Disasterpeace. Domo Loves Chiptune also features the first Chiptune remix of the Domo theme song by Mystery Mansion. The New York City chiptune scene was also the subject of a documentary called Reformat the Planet by 2 Player Productions. This film was an official selection at the 2008 South by Southwest.[93]

    Chip music has returned to 21st-century gaming, either in full-chip music style or using chip samples in the music. Popular games that feature chiptune elements in their soundtracks include Shovel Knight[94] and Undertale.[95]

    Live performances

    Chipspace (MAGFest 2020)
    The crowd area and marketplace for Chipspace during MAGFest 2020

    MAGFest's Chipspace

    Events take place all around the world that focus around the celebration and recognition of chiptune music. In the United States, during Super MAGFest—a yearly convention that hosts a variety of video game-related events—popular chiptune artists such as goto80 and Chipzel have previously performed on the Concert Hall mainstage. A chiptune-focused mainstage show (aptly named "Chip Rave") typically occurs on the third day of the convention within the concert hall and has featured countless prominent faces in the chiptune community.

    Super MAGFest also holds a continuous venue called Chipspace, a place where participants in the chiptune community go on-stage and perform their music through an open mic system.[96] Originally started by Chiptunes=WIN[97] founder Brandon L. Hood and maintained by geekbeatradio,[98] Chipspace has evolved over the course of MAGFest's lifespan to bring chiptune fans closer together.[99] Among these daily performances are showcases, which are curated by chiptune netlabels such as Chiptunes=WIN, geekbeatradio, and more.[100]

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    Further reading

    • McAlpine, Kenneth B. (2018). Bits and Pieces: A History of Chiptunes. New York, NY: Oxford University Press.
      ISBN 978-0-19-049609-8
      .

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