Инструменты
Материал из Chipwiki
Перейти к: навигация, поиск
Intense Tech with Defence Mech — различия между версиями
(→‎Get your Kicks with Version 6: Part 1!)
(→‎Бочки в версии 6: часть 1!)
 
(не показаны 4 промежуточные версии этого же участника)
Строка 749: Строка 749:
 
'''Изменение высоты тона с помощью P/L/V'''
 
'''Изменение высоты тона с помощью P/L/V'''
  
−
When LSDj changed from version 4 to version 5.1.0, the pitch engine also changed, as covered by Paul’s LSDj Tech Talk. Until version 6, there was no way to recreate the old logarithmic pitch. Luckily, we now have an instrument setting called “P/L/V” which is actually not entirely obvious about what it should affect, but I will clarify that! P/L/V settings affect how P commands, L commands, and/or V commands work. The default setting of “FAST” plays pitch slides and vibrato at the fastest rate possible (this was previously known as “HF”). Pressing A+Down changes to “TICK” which plays pitch slides and vibrato at a much slower rate that is also affected by the tempo of the song. Pressing A+Down again changes to “STEP” which makes P command a pitch offset only, which is not very useful for kicks, but makes P commands on wave drumkit snares a lot of fun! What we want to change is actually found when we press A+Up from “FAST” and we find a new option: DRUM!
+
Когда LSDJ обновился с версии 4 до версии 5.1.0, то изменению подвергся и движок изменения высоты тона. И до версии 6 не было возможности воссоздать старое поведение. К счастью, теперь у нас есть такая настройка, как "P/L/V", которая работает не совсем очевидно для предназначенных для этого вещей, но я всё объясню! Настройка "P/L/V" влияет на работу команд P, L и V. Стандартное значение "FAST" позволяет воспроизводить слайды и вибрато с максимально возможной скоростью (ранее это задавалось значением "HF"). Комбинация A+вниз меняет значение на "TICK", и слайд с вибрато осуществляется с меньшей скоростью. Ещё одно нажатие A+вниз меняет значение на "STEP", и поведение команды P меняется на простое смещение высоты тона, что не полезно для ударных, но весьма забавно для волнового канала. А теперь нажатие А+вверх, и мы видим следующую опцию: "DRUM"!
 +
 
  
 
<center>[[Файл:Intense Tech with Defence Mech - file 10-1.png]]<br>
 
<center>[[Файл:Intense Tech with Defence Mech - file 10-1.png]]<br>
Строка 802: Строка 803:
 
==Kicks Part 2: Kick Heaven in Version 7!==
 
==Kicks Part 2: Kick Heaven in Version 7!==
 
''Оригинальная статья на [https://chiptuneswin.com/blog/intense-tech-with-defense-mech-kicks-part-2-kick-heaven-in-version-7/ chiptuneswin.com]''<br/>
 
''Оригинальная статья на [https://chiptuneswin.com/blog/intense-tech-with-defense-mech-kicks-part-2-kick-heaven-in-version-7/ chiptuneswin.com]''<br/>
 +
 +
<spoiler text="Перевода пока нет">
 +
Welcome back to Intense Tech with Defense Mech! This week we’re continuing with Part 2 of making kicks in LSDj including a big update! By the end of this lesson you’ll have a wide arsenal of kick techniques to choose from. Keep reading to learn more!
 +
 +
'''Big changes ahead!'''
 +
 +
Last week, LSDj developer Johan Kotlinski made an update to LSDj and it is now at version 7! (The latest version is 7.0.6 at the time of this writing.) An exciting update in this version is that Transpose now works with DRUM pitch, as well as “P/L/V” being renamed to “PITCH” to avoid confusion.
 +
 +
[[File:Intense Tech 11-1.png]]<br>
 +
''“PITCH” was formerly known as “P/L/V”''
 +
 +
Let’s take a look at this feature with a kick drum that transitions into a bass note. I’ll start the kick two octaves above the note where I want the bass to be. The table on the kick uses a fast P command followed by an L command along with the transpose value of E8 to slide down two octaves.
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/11-2.mp4}}
 +
 +
 +
'''Other uses of DRUM pitch'''
 +
 +
As I mentioned last week, DRUM pitch is also effective for making snare drums or toms. When making a snare drum, I usually follow the same general table design as a kick, using a fast P command followed by an L command to transpose to a note where I’ve tuned the snare drum. This gives a sense of tonality to the snare that can then be augmented with a noise snare for a very full-bodied sound. In this example I also lower the volume with E commands to shape the decay.
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/11-3.mp4}}
 +
 +
 +
'''DRUM pitch in the pulse channels'''
 +
 +
DRUM pitch also works in pulse channels. Here, I’ve created a pulse kick along with a snare and toms. I use the 50% duty cycle aka square wave to get the most impact. Although the pulse channel can’t reach the lower octave that the wave channel can, it can still generate effective kicks! The snare table is similar to the wave snare table except that I remove the E commands and use the instrument envelope to control the decay instead. The tom instrument has a shorter instrument length and I place the P commands directly in the phrase to tune the pitch slide instead of using a table.
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/11-4.mp4}}
 +
 +
 +
'''Drums with Hardware pitch sweep in Pulse Channel 1'''
 +
 +
Pulse channel 1 has a hardware pitch sweep that is mostly good for making pitchless, bleepy bloopy sounds reminiscent of old video games (yes I realize the entire sound chip on the Game Boy is good for this!), but it can also be used to make kick, snare, and tom sounds. In this example, I used the S value of F4 for the kick and E3 for the snare. Similar E values could also be used to make toms.
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/11-5.mp4}}
 +
 +
 +
'''Noise kicks'''
 +
 +
Last but not least, even though it doesn’t produce the most elegant sound, the noise channel can be used to generate low pitches that serve well as a kick. This [https://www.youtube.com/watch?v=wD7omqjHXmI noise channel tutorial] by [[Boy Meets Robot]] explains the noise channel in depth, but for a quick summary, any noise shape that ends in 0-7 will produce a more tonal sound in the noise channel, and we can exploit this to create a smoother kick sound. Transposing down by values of 10 will lower the octave of this buzzy tone and create a descending pitch for a noise kick.
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/11-6.mp4}}
 +
 +
 +
'''Combining channels'''
 +
 +
When we use two channels for a kick, we can combine their strengths! In this example, I’ve created a very short kick using the lowest octave in the noise channel, and I’ve combined it with a pulse kick. Since the noise channel produces the low frequencies and the pulse channel provides the downward sloping pitch and the tonal content of the kick, the result is a fuller kick sound than using either of the channels by itself. This example is from my remix of [[Cyanide Dansen]]’s tune ‘[https://cyanidedansen.bandcamp.com/track/dox-the-fash-remix-by-defense-mechanism Dox The Fash]’ (you can find the save file [https://defensemech.com/songs here]):
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/11-7.mp4}}
 +
 +
 +
That’s all for this two part series! Come back next time in 2020 (I’ll be off next month) to learn about even more LSDj techniques, and let me know what you would like to learn! This is DEFENSE MECHANISM, signing off!
 +
</spoiler>
  
 
==Scoping Out New Features!==
 
==Scoping Out New Features!==
 
''Оригинальная статья на [https://chiptuneswin.com/blog/intense-tech-with-defense-mech-scoping-out-new-features/ chiptuneswin.com]''<br/>
 
''Оригинальная статья на [https://chiptuneswin.com/blog/intense-tech-with-defense-mech-scoping-out-new-features/ chiptuneswin.com]''<br/>
 +
 +
<spoiler text="Перевода пока нет">
 +
MECHANISM
 +
 +
Hello and welcome back to Intense Tech with Defense Mech! This time let’s cover some of the brand new features from LSDj version 7! I guarantee you’ll find something here that will pique your interest in checking out the latest version, so let’s dig in!
 +
 +
Disclaimer: At the time of writing, version 7 is still buggy and WILL CRASH! So feel free to play with new features, but please back up your work! It is still recommended to stay at the latest stable version 6.9.0.
 +
 +
During the last several weeks, the benevolent developer Johan Kotlinski has been hard at work making more improvements to the much-beloved LSDj Game Boy tracker. Last time we left off at version 7.0.6 to talk about the new functionality of DRUM pitch. This time we’re taking a look at version 7.7.4 and demonstrating some of the most exciting new features! Let’s get started!
 +
 +
'''FX/SPEED Setting'''
 +
 +
One new feature is the FX/SPEED setting. As its name implies, it sets the speed for some effect commands: namely, C, P, R, and V commands (P and V commands for pulse and wave channels are only affected in TICK pitch). Increasing the value increases the number of ticks each effect lasts, effectively slowing the speed of the effect. The video below demonstrates each effect in order.
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/12-1.mp4}}
 +
''Changing FX/SPEED to slow down effects''
 +
 +
 +
'''B: mayBe Command'''
 +
 +
A brand new command has made its way into version 7. This command is similar in some ways to the Z command we’ve covered before. Like Z, the B command can be used to apply probability to notes or tables. Using B in tables also allows probability to be applied. B works similarly to the H command in that it will hop to a row, but whether it does so or not can be left up to chance. Setting a B command of B05 will never hop to row 05, and setting a B command of B85 will hop to row 05 about 50% of the time. Setting BF5 will hop to row 05 about 15 times out of 16.
 +
 +
Using the B command with pulse, wave, and noise instruments allows a probability to be set from 0 to F (15). Setting the command to B00 will never trigger the note, and setting the command to B0F will always trigger the note. Values in between apply other probabilities: B04 means the note is 25% likely to play, B08 means the note is 50% likely to play, and so on. For kit instruments, each digit affects the left or right sample separately, meaning a command of B48 means the left sample is 25% likely to play while the right sample is 50% likely to play. Let’s take a peek at how this looks and simultaneously scope out another new feature, the…
 +
 +
'''Wave Channel Oscilloscope!'''
 +
 +
Perhaps the most mind-blowing feature will be easy to showcase here, but all the same, yes, the wave channel now features an oscilloscope!
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/12-2.mp4}}
 +
''Not the most inspired tune, but it sure is nice to look at!''
 +
 +
'''Silky Wave'''
 +
 +
Another equally awe-inspiring feature is dubbed Silky Wave. Many long-time Game Boy musicians are probably familiar with the infamous clicking of the wave channel endemic to the hardware itself. While it previously required a brute acceptance of this hard fact, thanks to the brilliant efforts of Johan Kotlinski, an incredible workaround has been achieved! The details are perhaps a bit esoteric, but as best I understand, a timer was implemented to allow changing the waveform at a more opportune time and avoiding such a harsh click. What this means is that a wave synth using the fastest Speed of 1 is now eminently more audible at its intended frequency. The video below compares the silky wave before and after.
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/12-3.mp4}}<br>
 +
''The extra clicking has been eliminated with silky wave!''
 +
 +
 +
R8x: Super-fast Retrig
 +
 +
One of the most-requested features was the return of the old wave channel pitch wrap. Interestingly, this characteristic sound was caused by the sound generator restarting at a very fast rate. Using it on the wave channel allows the sound to be tuned at the user’s will rather than simply relying on a P command. Using it on a pulse instrument such as a kick allows the sound to go about 3 whole tones lower than the pulse channel is normally capable of generating. Here’s a video to demonstrate!
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/12-4.mp4}}
 +
 +
 +
'''Wave instrument finetune'''
 +
 +
As the name of this feature implies, it is now possible to apply a finetune from -F (-15) to +F (+15) in the wave instrument.
 +
 +
'''Max tempo increase'''
 +
 +
Again, as the title states, max tempo is now 295 BPM! Tempos from 256 to 295 BPM can also be applied using the T command values 00 through 27.
 +
 +
'''Faster song loading and saving'''
 +
 +
Loading and saving time for songs has been drastically decreased. You might notice what appears to be visual glitches on the screen, but this is completely intentional!
 +
 +
Did I leave anything out? Feel free to reach out to me at defensem3ch@chiptuneswin.com if you have any questions about these features or other changes new in version 7! Until next time, I hope you enjoy playing with the new version. This is DEFENSE MECHANISM, signing off!
 +
</spoiler>
  
 
==Let’s Appreciate Version 8!==
 
==Let’s Appreciate Version 8!==
 
''Оригинальная статья на [https://chiptuneswin.com/blog/intense-tech-with-defense-mech-lets-appreciate-version-8/ chiptuneswin.com]''<br/>
 
''Оригинальная статья на [https://chiptuneswin.com/blog/intense-tech-with-defense-mech-lets-appreciate-version-8/ chiptuneswin.com]''<br/>
 +
 +
<spoiler text="Пока перевода нет">
 +
Hello again, and welcome to another edition of Intense Tech! This month, I’d like to highlight some of the changes that’ve been implemented since my version 7 article. Let’s dive on in!
 +
 +
'''The LSDJ Manual has been updated to version 8!'''
 +
 +
For those of us who like to RTFM, it’s nice to know that the official LSDJ manual has now been updated with all the new changes for version 8! So if you have specific questions about features or functionality, the answers can most likely be found in the manual, which is located on [https://www.littlesounddj.com/lsd/latest/documentation/ the LSDJ website in the documentation section].
 +
 +
'''New screen layout'''
 +
 +
The screen layout has been updated to reduce the amount of switching between screens. Instead of the old three-row layout, there are now only two rows. The main row which includes the Song, Chain, Phrase, Instrument, and Table screens, remains unchanged. The top row now includes, in order from left to right, Project, Groove, Synth, and Wave screens. Additionally, when navigating upwards from the main row, LSDJ remembers which screen you were on previously. This enables easy switching between the Phrase screen and the Synth screen, for instance. Some shortcuts exist for convenience: for example, navigating upwards from the Song screen always goes to the Project screen, and going upwards from a G command will always go to the Groove screen. Here’s a map of the new screen layout from the LSDJ manual:
 +
 +
[[File:Intense Tech 13-1.png]]
 +
 +
'''ADSR for Pulse and Noise Instruments'''
 +
 +
As mentioned in the previous interview with Johan Kotlinski, the Envelope settings for Pulse and Noise instruments is now replaced with ADSR for finer volume control. The ADSR has three stages, each with two digits: the first digit 0 through F controls volume, and the second digit 0 through 7 controls duration (0 holds at that volume indefinitely). An ADSR of 5100 is like the old Envelope of 51, volume starts at 5 and quickly decays to 0. An ADSR of 246732 would start at volume 2, rise to volume 6 somewhat quickly, decay to volume 3 more slowly, then quickly fade to 0. Using the ADSR in combination with commands such as RFx (retrigger with a decrease in volume) can act similarly to a tremolo command. E commands and the volume columns in tables remain unchanged and function the same as they have previously – they will override the ADSR volume when used in tables or phrases.
 +
 +
'''Z command enhancements'''
 +
 +
In the post “Don’t Sleep on Z (feat. Hypnogram)”, I indicated that Z did not work with D, G, or H commands. This is no longer the case! Z now works with every command except H (and of course, Z itself). This could make for some very interesting rhythmic consequences, as we now have the ability to randomize using a straight groove or a swung groove, for example. I’m really looking forward to trying this out and seeing what happens!
 +
 +
'''Miscellanous minor changes'''
 +
 +
To wrap up this entry, there are a few minor changes that are likely worth mentioning to help avoid confusion. Let’s have a little “lightning round” of small changes:
 +
 +
• Tables can now switch between “Play” and “Step”, where Play is the usual 1-tick-per-line, and Step is what was previously called “Automate”.
 +
 +
• The setting previously called “FX/SPEED” in version 7 has been renamed to “CMD RATE”.
 +
 +
• The wave instrument screen now shows the parameter “Loop Pos” instead of “Repeat” and rather than setting how many frames will loop, it sets the position of the loop point. Setting the loop point to 0 will repeat every wave frame specified by the length for the instrument.
 +
 +
• Using R commands in the wave channel will now retrig the synth from the beginning wave frame.
 +
 +
• Wave instruments are now set to Manual playback by default.
 +
 +
• Synths can now be cloned from the Wave Instrument screen (press Select+(A,B) on the Synth number).
 +
 +
• By default, a new instrument is set to use the channel where it was created.
 +
 +
• Setting xF in the table volume column will hop to row x.
 +
 +
• It’s now possible to use prelisten with a PS/2 keyboard, and to configure key delay in the Project screen.
 +
 +
• “Clean Song Data” and “Clean Instrument Data” now remove duplicate chains, instruments, and tables.
 +
 +
'''Optimizations and tweaks for usability'''
 +
 +
This is truly last but NOT least! Many changes have been made to optimize the playback of songs and the responsiveness of the interface. For a while, it’s been known by many users that simultaneously using V commands in three channels could potentially cause the Game Boy to slow down, freeze, become unresponsive, and/or possibly crash. This is no longer the case! The old brick DMG can handle this and more at tempos in excess of 250 without choking or slowing down. Some of the button presses (such as pressing A twice to make a new chain) have been optimized to be more user-friendly, and screen navigation and scrolling is more responsive.
 +
 +
Once again, a huge thanks to Johan Kotlinski for doing some amazing work over the past few months to make version 8 a truly incredible piece of software, and making improvements that almost seem like they should be impossible!
 +
 +
Let me know if you have any questions about the new version, or ideas that you would like to see for future installments of Intense Tech by emailing me at defensemech@chiptuneswin.com! Until next time, this is DEFENSE MECHANISM, signing off!
 +
</spoiler>
  
 
==Let’s Mix It Up (and Down)!==
 
==Let’s Mix It Up (and Down)!==
 
''Оригинальная статья на [https://chiptuneswin.com/blog/intense-tech-with-defense-mech-lets-mix-it-up-and-down/ chiptuneswin.com]''<br/>
 
''Оригинальная статья на [https://chiptuneswin.com/blog/intense-tech-with-defense-mech-lets-mix-it-up-and-down/ chiptuneswin.com]''<br/>
 +
 +
<spoiler text="Перевода пока нет">
 +
Hello again, and welcome back to another edition of Intense Tech! This month, let’s take a look at some different ways to consider mixing in LSDj. After reading this article, I hope you’ll have some new ways to think about working with the volumes, stereo panning, and frequency ranges of your instruments to make them shine throughout your tracks! Let’s dig in!
 +
 +
Ever since I started using LSDj, I’ve always struggled to make the parts fit in such a way that they enhance each other, but I’ve stumbled upon some ways to help balance instruments and channels such that each part has a place and complements the others.
 +
 +
While it’s worthwhile to think about mixing in terms of volume of the instruments and channels, there are other ways to adjust the sound that don’t involve simply turning volumes up and down. We can also think about stereo placement of the sound, as well as frequency range. If we consider these three options together, we can have even more possibilities when balancing the components in a mix, even on a Game Boy!
 +
 +
'''Control Space Using Panning'''
 +
 +
One of the great strengths of the Game Boy’s sound chip is that it has stereo sound control. Even though you can only control Left, Right, or both channels at once, it can still be used to great effect. Even just adding some alternating panning on things like pulse channel notes or noise channel hi-hats can create a sense of space and ambience. In this example, first an arrangement plays a lead in the first pulse, some backing harmony in the second pulse, a kick and bass in the wave channel, and hi hats and snare in the noise channel. Listen to the difference between the first part without panning, and the second part with panning:
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/14-1.mp4}}
 +
 +
 +
'''Control Frequency Using Octaves'''
 +
 +
This might seem so obvious, but don’t overlook the possibilities that you have by doing some simple octave transposing. Using the previous example, let’s examine what happens when we apply an octave transpose to the melody:
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/14-2.mp4}}
 +
 +
 +
This can freshen up a lead that might seem a bit stale, and it has the added benefit of making sure that two instruments don’t get caught fighting in the same frequency range. Think about playing a piano with two hands: it’s much easier to place your left hand in a lower range of the piano, and your right hand above it in a higher range. If both hands are trying to play notes in the exact same octave, it can seem like the hands are trying to battle it out. Rather than increasing the volume, try seeing if you can change the frequency so that each channel is situated comfortably in its own range. While this won’t work for every case, you might find that it opens up quite a bit of room in the mix — and when you only have four bits of dynamic range, every little bit counts!
 +
 +
'''Control Volume Using Transients'''
 +
 +
A transient is a sound that contains a sudden loud, short burst at the beginning. I learned this great trick from Pain Perdu: You can utilize this burst of noise to make a snare stand out in the mix without overpowering the other channels. Here is are three example of a snare that’s soft, then loud, then utilizing a transient:
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/14-3.mp4}}
 +
 +
 +
Setting the instrument volume to a relatively medium or high volume like 90 means the instrument starts with this loud volume, and the volume is reduced when the E command plays in the table. This also means you can use E commands in the phrase next to the snare if you want to raise or lower the volume of the transient. As you can hear, it can help the snare cut through the mix and creates more impact without blasting over everything else, offering some nuance to your percussion. This can also be used effectively for other noise instruments or even pulse instruments.
 +
 +
'''Control Wave Channel Volume Using Limit'''
 +
 +
The wave channel can provide a lot of power and impact in a track, but sometimes volume control can be tricky. Using E commands provides limited help in cases where E03 at 100% volume is too loud, but E02 at 50% volume is too soft. Using Limit in the wave synth instrument lets you keep the wave synth at full volume while controlling the maximum volume of the waves. You might recall that Limit will constrain the dynamic range of the waveform to a certain range of volume, no matter how loud the Volume for the wave synth or the wave instrument is set. Setting Limit to 8 will reduce the wave instrument to 50% volume even while set to Volume level 3, so setting Limit anywhere from 9 (about 56% volume) to E (about 94% volume) will allow you to access more variation in volume. See the example video below:
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/14-4.mp4}}
 +
 +
 +
Additionally, if you set the start and end points to different Limit values, you can use W commands to control the speed and length. This allows for even greater control of volume, as shown in the following example:
 +
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/14-5.mp4}}
 +
 +
 +
'''Control Pulse Channel Volume Using ADSR'''
 +
 +
Lastly, there is a wonderful feature in the newest versions of LSDj which is the volume ADSR. It might seem confusing at first, but you can consider it like chaining E commands together. For each stage of the ADSR, the first digit specifies volume and the second digit specifies the length. Once you provide the second digit, the next stage opens. This can be used similarly to a transient, to start loudly and fade to a lower volume. Or, it can be used to start at a low volume and fade in to a higher volume. The big advantage to fading in with ADSR is that, unlike with an E command which fades in, increasing in volume until the volume maxes out at F (or until the next E command), the next stage of the ADSR can be set to a lower maximum volume. Here’s an example of how the ADSR works:
 +
 +
 +
{{#widget:video | url=http://chipwiki.ru/music/intensetechwithdefencemech/14-6.mp4}}
 +
 +
 +
In previous versions as well as current versions of LSDj, ADSR can be mimicked with the volume column of a table. Although it uses an extra table, it can be helpful when the regular E commands don’t provide the extra level of detail you might need when trying to get that part to sit just right in the mix.
 +
 +
That’s it for this month’s edition of Intense Tech! What other topics would you like to see covered? Feel free to send your comments my way at defensem3ch@chiptuneswin.com. Until next time, this is DEFENSE MECHANISM, signing off!</spoiler>
  
 
[[Категория:LSDJ]]
 
[[Категория:LSDJ]]

Текущая версия на 13:32, 28 июня 2020

Это руководство к LSDJ

Глубокое погружение в волновой синтезатор LSDJ. Часть 1

Оригинальная статья на chiptuneswin.com

Клик

Глубокое погружение в волновой синтезатор LSDJ. Часть 2

Оригинальная статья на chiptuneswin.com

Клик

Не проспите Z

Оригинальная статья на chiptuneswin.com

Клик

Как справляться со своими сохранениями при помощи libLSDj

Оригинальная статья на chiptuneswin.com

Клик

WAV-инструменты и Wave Cruncher

Оригинальная статья на chiptuneswin.com

Клик

Грувим по тикам. Часть 1

Оригинальная статья на chiptuneswin.com

Клик

Грувим по тикам. Часть 2

Оригинальная статья на chiptuneswin.com

Клик


LSDj Wave Cruncher!

Оригинальная статья на chiptuneswin.com

Клик


Давайте обсудим таблицы!

Оригинальная статья на chiptuneswin.com

Клик


Бочки в версии 6: часть 1!

Оригинальная статья на chiptuneswin.com

Пока перевода нет


Kicks Part 2: Kick Heaven in Version 7!

Оригинальная статья на chiptuneswin.com

Перевода пока нет


Scoping Out New Features!

Оригинальная статья на chiptuneswin.com

Перевода пока нет


Let’s Appreciate Version 8!

Оригинальная статья на chiptuneswin.com

Пока перевода нет


Let’s Mix It Up (and Down)!

Оригинальная статья на chiptuneswin.com

Перевода пока нет

Источник — «http://chipwiki.ru/index.php?title=Intense_Tech_with_Defence_Mech&oldid=52810»