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Science International: What Will They Think Of Next?, YouTube videoĬhiptune music began to appear with the video game music produced during the golden age of video arcade games.

While it has been a mostly underground genre, chiptune has had periods of moderate popularity in the 1980s and 21st century, and has influenced the development of electronic dance music. They were in low demand by consumers as a whole, and thus were not difficult to find, making them a highly accessible and affordable method of creating sound or art. This led to a proliferation of outdated personal computers and game consoles that had been abandoned by consumers as they upgraded to newer machines. īy the early 1980s, personal computers had become less expensive and more accessible than they had been previously. The Global TV program Science International (1976–1979) credited a PDP-11/10 for the music. The First Philadelphia Computer Music Festival recordings were published by Creative Computing in 1979.

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

Some older systems featured a simple beeper as their only sound output, as the original ZX Spectrum and IBM PC despite this, many skilled programmers were able to produce unexpectedly rich music with this bare hardware, where the sound is fully generated by the system's CPU by direct control of the beeper. The usual method to emulate it is via quick arpeggios, which is one of the most relevant features of chiptune music (along, of course, with its electronic timbres). ĭue to limited number of voices in those primitive chips, one of the main challenges is to produce rich polyphonic music with them. The SID was a very technically advanced chip, offering many other features including ring modulation and adjustable resonance filters.

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Unlike the Game Boy, the pulse channels on the Commodore 64 allowed full control over wave duty cycles. The Commodore 64, however, used the MOS Technology SID chip which offered 3 channels, each switchable between pulse, saw-tooth, triangle, and noise. The Game Boy uses two pulse channels (switchable between 12.5%, 25%, 50% and 75% wave duty cycle), a channel for 4-bit pulse-code modulation (PCM) playback, and a pseudo-random-noise generator.

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Two notable examples of systems employing this technology were the Nintendo Game Boy portable game console and the Commodore 64 personal computer. Available waveforms often included pulse wave (whose timbre can be varied by modifying the duty cycle), square wave (a symmetrical pulse wave producing only odd overtones), triangle wave (which has a fixed timbre containing only odd harmonics, but is softer than a square wave), and sawtooth wave (which has a bright raspy timbre and contains odd and even harmonics).

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Common waveform generator configurations usually included two or three simple waveforms and often a single pseudo-random-noise generator (PRNG). A waveform generator usually produces a basic geometrical waveform with a fixed or variable timbre and variable pitch. A waveform generator is a fundamental module in a sound synthesis system.