![]() It means that you can control the echo and change it over time. While this seems like limitation and a waste of time, there is something very positive about it too. There are various ways to do it, but it essentially means programming the echoes by hand. Also, simulating echoes and reverb can be quite a challenge. To get the pitch bends, vibrato and slides to sound like an instrument being played by a human. Especially with music that is supposed to sound like it's being played live. The C64 can produce very complex sounds, but due to the bugs, it can be complicated to make them sound snappy. Instrumentation-wise, it can be tricky to get percussive instruments to sound good.It can be very very tricky to program something which sounds like something that can come very natural when playing the instrument live. Individual percussive elements can also be triggered slightly off-beat to emphasize it, or make it more groovy. Rhythmically there is usually a kind of swing that runs throughout a dub/reggae song.Goto80: When making dub/reggae with chiptools there are some things that are extra tricky. NN: What makes reggae and dub relevant (or original) for chip music? This is tricky, since chip tools are so strongly connected to traditional Western conceptions of rhythm, tonality and arrangement. It's always a challenge to not resort to the usual digital glitches or the platforms' typical tricks, and instead tap into the reggae world. Sometimes you make lucky mistakes that give that feeling, sometimes you have to make an effort to get it in there. I become the hen, because in dub there should be things that stick out, make no sense and explode your expectations. But instead of putting hens on the C64, I program it manually. I like to "put hens on the mixer" as Lee Perry did. I consider dub not so much as an aesthetic as a way of working. A good example of that is also my " Papaya Dub" from the Papaya 7" from 2001 I did this one in major, to get that easy kind of vibe, with simple and slightly fragmented melodies that echo out in space. When it's accompanied by hi-hats and off-beat chords (arpeggios) you get the reggae vibe too. What make the song sound like dub is essentially bass line, tempo and ornamentations like echoes. As long as you keep the bassline you have a lot of freedom to add bizarre sounds and melodies. ![]() I realized while composing this that the technique fits really well with dub. During the past years I've been making quite "associative" arrangements, where the song never ends as it starts. Goto80: I realized that I had never made my own version of Stalag so I loaded defMON on the Commodore 64, made the bassline, and took it from there. Beyond that starting point, how did you compose it? ![]() NN: We talked about reggae/dub and chip music for this case study, that's obviously the basis for producing this track. And here's the interview also featured in the book it basically explains a lot of this sub-genre: ![]()
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