Amiga music: Captain - Space Debris

What people said

Sohcahtoa82 · 2022-04 · Recommendation

My late dad was a huge Amiga fan back in the day. I was just a little kid at the time and didn't see what the big deal was. Looking back at what it was capable of though...they were doing 256 colors and sampled audio at a time when x86 was still pushing 16 colors and could only produce generated tones through the speaker built into the case. There was some really good music on the Amiga, too. Some of my favorites: Hybris theme: [LINK] Pioneer Plague theme: [LINK] Treasure Trap theme: [LINK] And of course, you can't mention Amiga music without also mentioning Space Debris: [VIDEO]

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exogeny · 2021-12 · Reference

I went ahead and created it: [VIDEO] I stayed within the Amiga scene, which means a lot of the picks are demo soundtracks that have that Italo/synthpop kind of style. But there's lots of classics in there, from Jester/Sanity (Germany) to Firefox & Mantronix/Phenomena (Sweden) to Dr. Awesome/Crusaders (Norway) and on. Captain, is of course, Finnish. Let the Eurovision-ish arguments commence ;)

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nyanpasu64 · 2021-12 · Reference

As someone who got into trackers after the "golden age", I wanted to comment with my perspective (focused on DSP, workflow, and chiptune): I noticed the video in the page is a remaster. To my ears, it sounds like it's being played with non-Amiga interpolation with less spectral imaging/replication (often mistakenly called aliasing), altered panning (the Amiga has an infamously rigid hard-panning setup), and possibly eq/reverb mastering on top of that. Compared to a video with aliasing ( [VIDEO] , no clue if the Amiga low-pass filtering is accurate), I like how the remaster has less high-pitched whine, but I feel it's missing out on the spectral replicas which influence the original's sound. > I could try “hiding” the loop point by adding fades in the beginning and end of the sample, and then overlapping the fade areas. I've heard people saying that crossfading is effective at looping, but in my experience it's difficult to pick good crossfade regions which don't result in altered timbre or audible discontinuities. Good crossfades are still slightly visible in a spectrogram, and bad crossfades are visibly and audibly discontinuous. I'm probably 30 years too late, but I implemented a more sophisticated (but more situational) algorithm which analyzes a sample as a spectrum, then resynthesizes it using a variation of the existing padsynth algorithm. This produces a perfectly looped sound with no discontinuities at the loop point (unlike crossfading), with built-in chorusing (not

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