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Jojo does a hell of a job programming it, don't get me wrong, it's solid, and has only gotten better over the years and is an amazing free tool, but I just never liked the workflow. Their plugin handling is weird anyway (you load a list, assign them per channel, then per instrument), and the whole experience tends to feel wonky. I like that FXX/GXX work on MIDI PB signals in OpenMPT, but that was the only win for me, and in Renoise you can automate PB with the MIDI control machine anyway. I used to use OpenMPT, and switched to Buzz because I don't like VSTs, they are usually very inefficient. I don't use it for writing legacy modules, so it's got everything I need. Channel routing, multi-in/out for midi per instrument, macro controllers, the list goes on.

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What Karsten does is use a tremolo effect - duplicating the same note and sample in another sound channel to richen the sound, and he also takes two different samples which are essentially the same sample with a slight variation in pitch and overlays them in alternating stereo channels, which richens the sound even further - accomplishing effects few mod composers have ever dreamed of.Renoise has an amazing sampler I use for synthesis, built-in effects, and low CPU overhead with low latency on my computers, as well as support for Windows and Linux with no compatibility layers. This song is one of the many examples of Karsten's tracking expertise (Chronologie, Leaving All Behind, and The Hidden Empire are all case-in-points), and it is a neat little toon that has lot's of superlative tracking tricks that caught me off guard.

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Aryx has the honor of being the ModPlug player pack-in song for good reason - it's good, it's small, and it is a tutorial in itself if you download a tracker and give it a once-over. It rocks from the get-go, and is a very repeatable listen despite the fact it is a brief and repetetive song, due to how the simplistic samples are manipulated throughout the song to give them a rich and varying tenor. Musically, this song has the distinction of having a superlative melody, for being ultrafast techno (circa 1995). Posted by TMA Placeholder Account on Thu 26th Sep 2002, rated 10 / 10.įirst of all, I'm going to start this review by saying how apalled I was at the prior review of this song, which was brief, inaccurate, and lowballed. This was not only very good back in 1995 when songs like these were being passed around on floppies and BBSes and the early internet, but it's also good now as downloading this song would be practically no issue on today's hundreds-of-gigabytes-big hard drives or very fast 4G wi-fi.

However, on top of all of this, the entire S3M is only 20.8 kilobytes. The melody is a bit too repetitive, though, and nothing is really added to it, and there's no extension to it. This feel is as if the song was part of some suspicious computer program, but for some reason, you want to keep listening. That droning bass, as well as that little square-wave part of the rhythm, adds to the electronic feel of the song. The percussion is very great with that echo-ish snare and that kick and those cymbals are cool as well. Nonetheless, I then discovered it was an S3M by reading up on its Fanimutation Wiki article that it used to be an OpenMPT example song. What a strange way to discover such an awesome song like this. I later learned its name when it was used as the loading song in an animutation by Dwedit called 'Suzukisan!'. I first heard this song, strangely enough, in a WebGL tech demo game called 'Teach Me To Fly'. Posted by Nikku4211 on Wed 5th Jun 2019, rated 9 / 10.

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