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PostPosted: Wed Jun 13, 2018 2:54 pm 
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Location: Gothenburg, Sweden
lidnariq wrote:
rainwarrior wrote:
If not looping a sample, you are not really limited to integer divisions like this, you can use any pitch at all for that.
Yeah, that. The loops are really only important if you want looped/chip samples.

Granted. Though i meant was that if you happen to use looped samples anyway*, you also may get some short notes this way as a side bonus. A lot less useful than i thought now that rainwarrior taught me the use of the == stop. That makes their use limited to sub-step note lengths, percussive addons, staccato gaps and the like.

*I think the main reason to go for tonal loops is to conserve space.

rainwarrior wrote:
[...]a lot of redundancy in the set, and if you pick samples with divisions that are close to each other they should be closer in sound as well


Yeah, it's quite doable to organize them as a few somewhat different sounding voices by grouping if you'd want to, or just focus on one characteristic that works for the song/songs.

I spent a lot of yesterday messing about with the samples. At first i looked at bytes per non-overlapping note as a sort of value, but then came to prioritize that all samples would be within a couple of hundred bytes. + for the 'value' to work best, you kind of need to know what notes you're going to use.

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PostPosted: Wed Jun 13, 2018 4:05 pm 
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If you are going for conserving space it is indeed the best solution, especially when you want to simultaneously do something unusual for an NES game. I once wrote a demo song that tries to sound "advanced" while only using the base hardware features, including a looped DPCM waveform made from an FM bass guitar patch.


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