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PostPosted: Thu Aug 23, 2018 12:30 pm 
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It's tough. With Musetracker playback engine I kind of wanted to throw everything and the kitchen sink in, which resulted in a reasonably performant but not-so-space-efficient engine (and only a few productions ever used it, although I think this was more because people were more used to the FamiTracker UI). In a perfect world the engine would support "everything", but the user would only pay for the features they actually use. But then it becomes quite difficult to design the engine, you'd need some conditional compilation at the very least.

And all this in order to get some users for your library, while getting not much more than a pat on the back in return. It really is a thankless job.

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PostPosted: Thu Aug 23, 2018 12:34 pm 
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You mean like the PENTLY_USE_* flags I have? But seriously, I have no idea about what people want in DPCM in music in games because I don't myself use DPCM in music in games. I guess not everybody looks up to Tim Follin the way I do.


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PostPosted: Mon Aug 27, 2018 3:48 pm 
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The top four reasons not to use Pently, even at the expense of having an overall shorter soundtrack for a given ROM size:

  1. DPCM
  2. Preferring to compose with linear pitch turned off, and wanting vibrato rate/depth and portamento rate to match FamiTracker exactly
  3. Becoming frustrated with playback differences and not knowing how to ask for help
  4. (Added 08-28) Using a third-party game engine with built-in FamiTone2/4 or GGSound integration but no Pently integration yet

In theory, a converter could compensate for #2 by using smaller vibrato depths and portamento rates for pitches below A-2 and larger ones for pitches above A-2, converting them from units of reciprocal frequency to log frequency. But in practice, it'd have to be a command line option, as 0CC-FamiTracker's text export does not include whether linear pitch was used. I reported this eight months ago.

This still leaves design of DPCM instrument data structures and composer support. Does anybody have test case FTMs/0CCs showing "typical" use of DPCM in a game soundtrack, as opposed to the data-heavy "Sunsoft bass" tracks I commonly see in FamiTracker Discord where people think nothing of using 64K for a 1-song NSF? And how could I encourage composers to keep me in the loop about problems they encounter?


EDIT (Tue 08-28): Add third-party game engine as the fourth reason


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PostPosted: Mon Aug 27, 2018 4:16 pm 
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How many samples are in the soundtrack of your game? More than 25? More than 63? More than 127? And how much space do they total? More than 8K? How many of them are played at different frequencies, vs. played at only one frequency?


Counterquestion: Does the definition of soundtrack include samples that are used mainly/only for sfx here?

Personally i feel more than 8k is greedy. Since you need your samples visible at all times while they're used, i'd try to aim for max 1k or maybe max 2k if it is something special. I'm not every composer though.

Playing at different frequencies is important if you want to conserve space. I feel it is important.
Even drums benefit from being played at different frequencies.

One limitation that both FamiTone and GGsound puts on DPCM is.. well it's two different takes.
GGsound - only one instrument can be a dpcm instrument in addition to its non-dpcm duty (iirc)
FamiTone2 - only instrument 00 can be a dpcm instrument in addition to its non-dpcm duty.

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PostPosted: Mon Aug 27, 2018 4:24 pm 
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FrankenGraphics wrote:
Counterquestion: Does the definition of soundtrack include samples that are used mainly/only for sfx here?

Yes. Pently in fact builds its current triangle+noise drums on top of sound effects. I'll also need to come up with a policy for what interrupts what, and it appears a bit more complex than the "whatever's louder" policy that other channels use.

FrankenGraphics wrote:
Playing at different frequencies is important if you want to conserve space. I feel it is important.
Even drums benefit from being played at different frequencies.

Part of it is planning an efficient representation in sequence data, particularly whether I need to plan for every sample being played at every pitch.


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PostPosted: Mon Aug 27, 2018 4:41 pm 
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One thing i've wanted to try at some point but don't think i've seen (maybe because FT supports a whopping 256k of sample data, so few might've thought about it) is to use dpcm samples just for quick attack portions in tandem with a square or triangle that takes up the flag of the note where the attack portion ends. The attack portion either needs to go from its complex timbre to a tri/square one, or fade out while the tri/square fades in. Either way it could fit a limited size driver. Sometimes limitations may inspire new(?) styles.

Quote:
Yes.
Then definitely at least "more than 25", i think. 63 sounds like a nice max but again, i wouldn't know the needs of other composers.

Quote:
I'll also need to come up with a policy for what interrupts what
Maybe the sorting order of the samples could be enough to decide priority? It's not perfect but allows for some user agency at build time.


Quote:
Part of it is planning an efficient representation in sequence data, particularly whether I need to plan for every sample being played at every pitch.

My experience is a bit too limited to be making a reliable verdict, but i've found the brightest few frequency settings to be the least useful overall so far.
For nonlooping one-shots, you typically get very short sounds for your sample length, and for "faux waveforms", you get very bright/out of tune sounds.

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