Chimerror @chimerror@beach.city

you know what, I've never done an #introduction

I'm Chimerror, a game dev from Seattle making all sorts of dumb furry games. I sometimes stream playing games too!

Here are my current active projects, in alphabetical order by code name:

* iguana: a dice game named Cat Girl Death Match designed by my friend

* muntjac: a sexy adventure game in the style of Leisure Suit Larry

* numbat: a cinematic soccer game in the style of Captain Tsubasa

all I want for Christmas is ewe

I'm going to a Womxn of color healing circle and I probably should shame but I'm le lazy

Oh shoot, they just released an enhanced remake of the first Star Ocean game. The characters from the medieval world better still have tails.

I'll never be able to finish my must play list. :(

Consider that a balance for how we understand music in a sense where equal temperament is what we expect. She also demonstrates the older meantone temperament, and an amusing 13TET tuning she declares "perfectly bad". I actually kind of liked it...

But yeah, it was a interesting album to listen to. It's short overall, but no matter what I feel like you're going to have to listen many times and practice and play with many times to really internalize it.

That is actually a little unfair, though the last two tracks highlight the ability to craft wholly new instruments using features of real ones. For example, what if you tried for a sound like a cello being played with piano hammers?

The very last one demonstrates alternative tunings. It's very clear how muddy equal temperament is, but her version of just intonation she refers to as perfect tuning almost feels like electrical arc sounds than chords.

But the interesting thing is that while she was very excited by the ability for digital to better produce orchestral sounds due to the increased precision, I was actually more interested in the "bad" analog examples than the "good" digital ones. My guess is having grown up with such harsh sounds as 8-bit chip synthesizers, I actually like that more, whole I figure she holds real analog instruments as her standard.

The tail end turns to digital synthesis, which she is a big fan of. A lot of it comes down to the increased ability to layer many more sounds while being able to detune in much finer ways. It makes an incredible difference for percussion and brass, where there are many more non-harmonic partials. Being limited to harmonic ones basically reduces everything down to an organ.

Took the time to listen to Secrets of Synthesis by Wendy Carlos, essentially her lecture CD about working with synthesizer timbres for good orchestration.

A few particularly interesting parts to me:

* I constantly heard timbres and sounds that reminded me of the Final Fantasy 6 soundtrack. This interests me mainly because I always thought of the SPC mostly as a sampler, but I really do have to conclude those sounds were synthesized then sampled.

I decided to take a look at Godot, sort of the open-source answer to Unity. The main thing that I think would be interesting is the fact it has separated the 2d engine from the 3d engine a bit more.

In muntjac, my adventure game, the fact that things are based on floating point values might be a cause of some of the weirdness I see clicking around.

I like what I see so far. It might even be better overall if you don't have programming language expectations like I do.

Finally playing around with spleeter, an open-source audio separation library. Definitely some noticeable distortion of things, but it's pretty damn impressive!

Might be worth figuring out how it works after all.

making sure to gender krampus correctly